Make Noise QPAS // Quad Peak Animation System & Stereo Eurorack Filter

Published on Feb 19, 2019 DivKidVideo

"**TIMING INDEX / SECTIONS BELOW** So here's "the ultimate guide to QPAS" ... a mega tutorial, uber overview or any other silly name you'd like to title this with. Silliness aside, the QPAS has been great offering a lot of stereo filter tones with the quad filter cores and simple controls for a wide range of animation. The tone of the filter is hard to pin down as Tony of Make Noise designed the core (rather than cloning an old one) for the filter and the option to saturate the input VCA stage provides further tonal options. I hope this video is useful for currently QPAS owners, potential QPAS owners but more importantly I hope the video serves to demonstrate tchniques and provide ideas for any modules you own. I always try to make these useful for those with or without the module.

INDEX / SECTIONS

00:00 hello and patch previews (what’s to come)

02:22 What is QPAS? Feature and control run down

04:53 Raw sounds and sweeps

07:22 Audio rate talking filter vibes

08:02 QPAS & Morphagene Patch #1

09:51 Creating stereo images from mono sources and how to make an “opto auto pan” effect

10:43 QPAS in a delay feedback path and how to turn stale digital delays in awesome-sauce

12:54 Distorted bass sound design - looking at driving resonant peaks into distortion for hard electro, industrial and film/game like sound design

15:24 4 THINGS PATCH
15:37 Sweeping HP over full mixes
17:00 Bass boosts with the HP and high Q
17:55 Imparting chordal overtones
18:30 Envelope follower modulation for ‘auto filter’ sounds
19:05 Smile Pass phaser sounds over a mix

19:36 Phaser FX

20:18 QPAS & Morphagene Patch #2

21:14 best sound EVER

21:26 AM Synthesis tutorial with the QPAS + bonus LPG like patching

24:26 Emulating LPG / low pass gates with the QPAS

26:06 How to make a 4 pole 24dB octave response out of the QPAS’ 12dB 2 pole response

27:35 Making a “unique” band pass with self patching

27:55 4 mono peaks, 2 peaks filtering the other 2 peaks with self patching

28:52 Noise as a modulation source. Percussion, noise, new sounds and groove box action!

29:49 Shaping basic electronic percussion sounds

30:31 Imparting chord tones over your audio

31:06 Dynamics and expression with the input VCA

31:53 QPAS & Morphagene Patch #3

33:07 Random techno pings

33:32 LP BP HP SP multi output drone

34:36 Weird acid & layering modulation

36:12 Synthesising percussion sounds - KICKS

37:50 Synthesis more percussion - SNARES CLAPS + MORE

38:55 Tony Rolando’s “fake echo” patch with the wildcard input

40:53 Complex synth voices with Scanned & QPAS and lots of modulation."

Make Noise Introduces the QPAS - Quad Peak Animation System

Published on Jan 23, 2019 MAKEN0ISE

"Introducing the Quad Peak Animation System, or QPAS. The QPAS is a quad core, stereo, analog multimode filter. We highly recommend using headphones while watching this video. All sounds are the direct output(s) of the QPAS."

"The Quad Peak Animation System combines the auditory enveloping of stereo spaced peaks with the animation of two or more peaks in a single channel dancing around each other or engaging in primitive vocalizations. QPAS is Quad Core, containing four identical state variable filter cores with a control system powerful enough to guide them in stereo multi-peak operation, but simple enough to encourage system integration rather than domination.

The Story of the QPAS by Tony Rolando
When I worked at Moog calibrating Voyagers, I monitored with headphones, and one of my favorite sound sensations was that of the stereo low pass filter. You might not even recall that the Voyager had a stereo Dual LPF. It is under utilized since most folks are trying to achieve classic Model D goodness, and the OG MiniMoog was a very mono instrument.

The binaural effect of a stereo Dual LPF is simple: one channel of the sound is brighter then the other. However, the effect is heightened when the filter has an exponential response and the cutoff is modulated. At lower cutoff frequencies the two channels appear to move at similar velocities, but as the cutoff frequency increases, one channel will smoothly increase in velocity, becoming brighter faster. The other channel lags behind, but eventually reaches the same velocity, and finally at high cutoff frequencies the two channels coalesce into full brightness. Where the mono LPF smashes you in the forehead with simple heavy sound, the stereo LPF envelops you, putting you inside the heavy sound.

When I developed the QMMG I learned about multi-peak filtering. Another under-utilized technique, this is processing a single channel of sound, with multiple filter channels, which are modulated, and then summed together to create a new version of the original sound. On the QMMG all four channels of filters were summed to the MIX OUT. There were a few normalizations, but they did not really ease or encourage multi-peak use. The QMMG UI was awkward for use as a multi-peak filter.

A common use for multi-peak filtering is the creation of formants, where multiple band pass filters are carefully programmed to generate human vowel sounds. This can be fun but it requires meticulous programming. If you forget about formants and just modulate until it sounds good, a multi-peak filter can be gorgeous fun. When the multiple peaks are offset from each other and modulated, the effect can be dizzying, as the sound appears to be dancing with itself, moving in many directions and yet it is still a mono sound. It is an auditory illusion.

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Blue Lantern ASTEROID SNARE DRUM

via Blue Lantern

"What does this do?
This is a sound generator module with 3 oscillators + noise generator. This module is a complete mini synthesizer that can easily produce snare drum sounds. A 'trigger' signal is patched in order to hit the snare drum. The bottom row contains an internal mixer where you mix in 2 shell generator oscillators, one thud oscillator, and a noise generator.

The Noise generator can be used for your other modules. You can also patch into the discrete transistor vca, breaking the switch jack to replace the noise generator with an external audio signal (synth level).

The Filter on the 'Impact' signal path was carefully designed just for snare drum tone control. It sounds very nice. It will not self oscillate, but the Q control can go very high in frequency.

There is an accent control circuit in order to vary the loudness of the snare drum.

History of the design:

The Asteroid Snare drum started out on bread board as a TR 606 snare drum. That design only contains one oscillator, a transistor based noise generator, and a 'clipper' brute vca. It is a nice efficient old design, but it is too simple and boring. I decided to add (2) of the original oscillators, and replaced the noise generator with a digital based noise generator to make sure all production units were alike. The snare drum still was missing fullness, so I designed an addition oscillator called 'thud'. The poor vca from the original design was removing all the additional harmonics, so that was replaced by a discrete vca, and I added tonal controls to the IMPACT signal, and the THUD signal path.
All of this amounts to about 200+ smt parts. Far exceeding the original design. I don’t think there is another analog snare drum out there with the Asteroid Oomph.

Price $169.00"

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MacBeth Micromac-R X-Series Analog Eurorack Synth Module

Note: Auction links are affiliate links for which the site may be compensated.

via this auction
"From MabBeth Studio Systems:

the idea started a while back when the first analogue destop synthesizers first made their appearance.

a while back, i too, was considering how much sound creation facility could be put into a very small area. historically- my designs have been integrated analogue synthesizers at which i have some expertise. more recently, i have worked on modular synthesizer too. my style is to offer a no comprimise, quality sound product employing whatever it takes to make that possible! i have worked on various ideas that employ the integrated aspect with the flexibility of a modular synth. the result now is my latest products, the micromac-r and the micromac-d.(series)

the micromac is a full scale integrated analogue synthesizer in a very compact space. there are two units to be made available. the micromac-r is aimed at the 3u eurorack modular synthesizer users and the micromac-d is aimed at those who wish to take a synthesizer into the live performance domain. the micromac-d is housed in a compact desktop unit coming with an extra two lfos and a sophisticated midi/glide/lfo control section- allowing the unit to be used in many situations where it may be the only analogue instrument in use.

the highest priority was to design a synthesizer that would have not one oscillator, or even two- but three voltage controlled oscillators. key was to have more than the standard sawtooth and square waveforms available- but also to employ triangle waveforms and sine waveforms. it was also also deemed very important that the oscillators would have their own voltage control inputs and separate audio outputs to integrate with other modular synthesizers. another very important audio component was the inclusion of a noise generator. any full-scale synthesizer must have dual envelope generators. the first eg is key to sweeping the filter- but a separate eg is also very important to shape the final output or voltage controlled amplifier section.

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譫妄 - 鬼的影子 by 鬼的影子

ghost's shadow by ghost's shadow

via 鬼的影子:

"This track was a mostly analog hardware jam recorded live with a 2-track Revox PR99 1/4" reel to reel at 7 1/2 ips. Prior to recording I programmed drum tracks on a Roland TR-909 and TR-808, mixed via an old tube amp as I have run out of mixer channels. The kick is being sent to a Sherman Filterbank. The percussion is going through a channel of the Overstayer Saturator. The track also features a Roland SH-5 for the bassline, which is sequenced by a Make Noise Rene and triggered by a Doepfer Darktime (Rene trigger is not strong enough). TR-909 kick and SH-5 bass are on a group going through the other channel of the Overstayer Saturator. The obvious synth part is done with a Casio CZ-5000 of which the synth part was programmed by me from initialised patch. It is going through a ZVEX Lofi-Junky pedal, a Moog Phaser and Dr Scientist Cosmichorus. There is some subtle synth sounds (noise / fx) on L & R stereo field that is done by a PIN Portabella (modern EMS Synthi A clone) and the same sequence from Doepfer Darktime is playing some role in sequencing this from memory. The kind of ehtnic sound near the end of the track is a patch on a Make Noise shared system, using all of the modules in some way. I did a lot of tweaking on the shared system whilst recording. Also used is a Daking FetIII on percussion group and SH-5, and a Joe Meek Twin Q, Bellari RP-583 plus a couple of Valley People 610's on compression and side-chaining duties. Reverb is a spring reverb by IGS called Springtime, and two of its channels is used for a stereo synth bus, while one channel is on the TR-909 kick drum and one channel on the TR-808&909 percussion. I also have two distortion pedals (the red Chandler Limited Little Devil Coloured Boost & the blue Germanium Drive) on a stereo bus for synths, one for the left, one for the right and mix this bus in subtly. Mixed on a 8 Channel Toft Board. Mastered by myself for sound quality as oppossed to loudness by playing back the tape recording through a Thermionic Culture Vulture, followed by a Rockruepel Comp.Two, then a Tubetech HLT2a and finally a Rockruepel Limit.One before being recorded by a Tascam DA-3000.

About me:
I love analog machines and the older technology of the 90's, including tracks made live with hardware before producing with computers was all the rage. I like thinking of the sound generating gear as instruments, which is why I do not use a computer to make music (I don't consider the computer as a very good instrument to jam on, although it is possible as lots of other people demonstrate - such as my friend Skueue who shows how powerful a computer can be for jamming). A lot of my interest in music is closely related to machines, and without machines I may not have had such an interest in pursuing a hobby in music and sound design. My gear is not dissimilar a nice car to car enthusiasts, and I have chosen gear over owning a car, clothes shopping, fancy restaurants etc. I am not interested in fame, money or popularity and really appreciate people that do music, and art in general, for the love of it. I believe in making unique music based on going with what you feel rather than what you've heard others doing and trying to recreate something that's already been done. I use chinese characters as an artist name as most people will not be able to search for you, which ultimately makes the focus of building your brand name and being popular non-existant. This way, I can focus entirely on making music and not the associated things that come with it."

Akai Pro - MPC 2.3 Update Tour - New Built-In Synths

Published on Nov 15, 2018 AkaiProVideo

"By popular demand, we join Pete and Geoff again, on our behind the scenes tour of our largest ever update for MPC 2 Software, MPC Live, and X!"

MPC Lounge - MPC 2.3 TubeSynth


Mpc Lounge - MPC 2.3 Auto Sampler


"This major software and firmware update introduces a number of user requested features and functionality enhancements, notably the addition of three powerful, versatile, and expressive built-in synthesizers by AIR Music Technology (TubeSynth, Bassline and Electric) to the MPC standalone experience. This is a landmark feature addition which elevates the MPC from a sampler to a true musical powerhouse. Also very significant is the addition of Autosampler and Arpeggiator. As a result, this update is highly recommended for all current MPC X, MPC Live and MPC Software 2 owners.

TubeSynth:
The TubeSynth emulates the sound of classic vintage analog poly-synths packaged with five integrated AIR effects. The instrument is created by AIR and is based on the same advanced analog modelling technology found in their highly acclaimed desktop plugin synth Vacuum Pro. The layout has been carefully designed for easy tweak-ability via the MPC Q-Links. The TubeSynth comes packaged with a comprehensive factory library of cutting-edge presets including sumptuous pads, hard hitting plucks, thunderous basses and screaming lead sounds.

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Plogue chipcrusher v2.0 : Retro-Digital Multi-FX

Published on Nov 13, 2018 Plogue Art et Technologie, Inc.

"Now available (free for registered users)
New DAC Encodings: -CVSD -MOZER -HAAR TRANSFORM -LPC-SP0256 -VOCODER
SPC Delay effect from forthcoming 'chipsynth SFC'
UI Redesign from http://www.kikencorp.com
NKS FX Support!

Downloads and more info:
https://www.plogue.com/products/chipc..."

"Nostalgic for vintage sound encodings, 80s computer speakers, or the SPC Delay from a famous 16-bit console? chipcrusher's got all that, plus grit (background noise) and filter-impulse responses.

HOW DOES IT SOUND?
There is a wide spectrum of results achievable with chipcrusher. Here are a few use cases:

Uniquely destroy/mangle a beat, a guitar or any other audio track.
Play single hits and emulate the sound of old samplers.
Add ‘accurate dirt’ to chipsounds’s output.
Emulate a classic 16-bit console's "Delay/verb" to a track
There are four main components in chipcrusher: DAC Encoding, SPC Delay, Background Noise and Cabinet. The audio inputs first go to the DAC Encoding. Then gets processed by the SPC Delay, mixed with the Background Noise to finally get sent to the Cabinet stage. Of course, each component can be bypassed on demand without muting the audio.

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Introducing Blinksonic° FR3TZ° for Native Instruments Reaktor 6

Published on Sep 22, 2018 BLINKSONIC°

www.blinksonic.com/fr3tz

"Blinksonic family is growing with the release of a new breed ensemble for Reaktor 6.

Please welcome to FR3TZ ! String Harmonics meet Euclidean Beats... in a Granular Cloud.

FR3TZ is a self sequenced instrument which offers to play chromatically a full set of guitar harmonics samples, with the power of granular synthesis and a suite of 6 effects.
The 3 track-mono-step sequencer can be programmed in a similar way as an Euclidean rhythm generator.

FR3TZ is an unconventional piece of instrument for creating generative patterns both melodical and rhythmical, the whole being encapsulated inside a modern user interface, inspired by « Material Design », which reinforces the user experience.
This instrument can produce amazing mechanical or non linear melodic patterns but also percussive beats and generative soundscapes. 177 snapshots have been crafted to illustrate the kind of unstable loops and unusual phrases that can be created with it.

FR3TZ also explores the random concept again, in order to provide some humanized effects on your note patterns. The sequencer is coupled with a note selector (a 1 octave virtual keyboard. This selector allows to choose which sound of the map will be aleatory launched on any incoming gate events.

Travel over the waveform with the mouse to obtain glitchy effects.. Combine the 6 effects (Pitchshifter, Filter, Distortion, Delay, Chorus, Reverb) in order to sculpt the shapes of your tones.. Inject some crazy movement on the master mix with Binaural/Doppler effect... This extensive set of features combined between each other, provides a unique recipe for designing sounds.

FR3TZ, even more than a sound bank or a virtual instrument, is a real physical sonic palette.
You will discover how surprising it can be to use string harmonics as an oscillation source, transform them as an atonal percussive element. Thanks to granular synthesis, experiment how to sound big with the infinitely small.

THE CONCEPT

String harmonics have a particular sound rendering and easily provide one of the most mysterious and subtle sonic mental images when they are punctually used in a guitarist performance. Obtained with a slight pressure on the strings with the tip of the finger raised above the frets, the harmonics deliver one of the most fascinating sounds that can be extracted from a guitar.

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Noise VCA CG-Products Unboxing

Published on Aug 20, 2018 Dziam Bass

"Noise VCA from CG-Produts which has just arrived to us.
Noise VCA is a noise generator with variable state VCF and VCA
All in one module. "The white noise generator, followed by a VCF with variable values ​​(switched between bandwidth, high or lowpass characteristics) with adjustable resonance (Q) and VCA, makes this module ideal for most standard noise applications. the filter provides a wide range of rich and colorful noise sounds, the VCF has a second input that allows you to combine external sound with noise or completely replace the VCF noise input with an external source.
What's more, there is a subsonic output that provides a random resume for modulation.
CV VCA mode can be switched between exponential or linear expansions with the muting option when the switch is in the middle position; The "Offset" knob allows you to move the VCA starting point by adding negative or positive voltage to the CV VCA input.
http://www.cg-products.de"

EDP Wasp Synthesizer SN 001465

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

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$126,508.32 Massive Vintage Rare 1974 ARP 2500 in Superb Condition for Sale

Note: Auction links are affiliate links for which the site may be compensated.

via this auction, priced at $126,508.32 + $1,640.77 Shipping.

This one was spotted and sent in via an anonymous MATRIXSYNTH reader. It was once for sale back in August, 2017.

Details via the listing, captured for the archives:

"Selling my beloved ARP 2500 - Model 2515 Studio Cabinet. Serial number - 74-005

I am the second owner of this fantastic piece of history and purchased this instrument from a dutch composer/violinist who in turn ordered it directly from the Arp factory around 1976. Before my ownership, it was used in a reasonably well known studio in Hilversum for a multitude of experimental recordings throughout the 70s and 80s.

It is in pristine condition and original state with only a few cosmetic blemishes. It has been used and stored in a smoke free, temperature controlled environment and is a joy just to look at, let alone play. A well laid out collection of modules that offer many many years of deep exploration, I spent almost 6months just with the 1036(Sample/Hold/Random voltage) module :).

All modules are working and sounding fantastic. The filters are especially lush, definitely nothing else sounds like a 2500 and the unique matrix switch system is ripe territory for happy/accidental patching discoveries.
The fabulous ARP 2500 was used by famous musicians like Aphex Twin, Pete Townshend, Jean-Michel Jarre, Vangelis, Jimmy Edgar, Luke Vibert, Vince Clarke, Faust, Eliane Radigue. And used in films like Logan's Run and communicating with the aliens in Spielberg's Close Encounters of the Third Kind.

Here is your chance to own an instrument capable of taking you on an intergalactic journey through time and space...

Check out my other listings for more rare stuff.

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EMS Synthi E - The Educational Modular Synthesiser (1975) Serial # 194 7137

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Such a great little compact modular synthesiser that can really surprise with its heavy bass growl. Ive destroyed sound systems at venues performing with this thing.

“Versatile and Robust” as the manual states… You have to hand it to the people at EMS they really knew how to design synths. This one has all the features you need to perform with just this alone and bring the house down, its sliding controls are smooth and intuitive, its internal touch ribbon controller is super fun and you can plug external gear (guitar, voice, drums into the Envelope Follower) to control any or many parameters. The Synthi E was designed for schools and colleges back when education held humanities in high regard, imagine being exposed to modular synthesis as a high school student?!?

A tight little package wrapped in an original Spartanite case which alone is extremely sort after and valuable.

Did I mention that it is battery operated as well? Yes, so you can take it into woods and jam out to nature sounds, set up a mic and your Synthi will play along with the birds. For studio sessions it can be connected to a 12volt DC power source so you can play all night long.

It also comes with and extremely rare 3-octave external keyboard with silky smooth action if you wanted to play it in a more conventional manner. Ive never seen one of these for sale, ever so I doubt there are many out there. Serial # 7137

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Waldorf Rack Attack • Drum Machine / FM Synthesizer Module SN

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Oh, boy.. this is one heck of a synthesizer.

Basically it’s a full-blown Micro-Q (2x25 oscillators, 25 part multitimbral) with a built-in step sequencer, and all the samples that were in the Roland 808/909 synths (cymbals). [Per Waldorf: "The RackAttack's virtual modeled circuitry synthesis is optimized for drums and percussion."] So it’s capable of emulating all the classic drum machines, (the Simmons is immaculate, plus there are unlikely ones in here like a Casio, some other 8-bits, of course all the old Roland kits..) and also extra capable of producing super far out and excellent modern, custom, wild kits. Plus it functions as a normal analogue modeling synth, not just a drum synth. Making basses, leads, pads, sound effects, whatever.. totally possible and really pretty simple. Same as any other Waldorf Q series.. maybe even easier, especially if you want crazy sounds. You can make it do one random sound, or an entire random program set, then play around and fine tune the results, all without overwriting the program you’re in until you’re ready to, the edit buffer is huge. Copy and paste sounds from any kit into any other kit.. get some FM noise and tweak it with the LFOs.. Oh, baby. Yes.

2 full and separate effects units are present. Includes a bit cruncher that can decimate any patch down to chiptune resolution — that’s really cool. Plus all the normal stuff, reverbs, chorus, flanger, phaser, distortion/overdrive, clock sync delays.. it’s all here in duplicate.

The FM on the oscillators is just sick. Not sure how else to describe it. It’s the key to producing drum sounds using analogue oscillators. The manual explains this in great detail, how they recreated the emulations of drums from the 80s. Crossing FM on 2 oscillators with any of the waveforms produces insane results. Making sounds that scream and cut through a mix is cake. Plus it has the Waldorf randomizer function that you can activate anywhere, any time to get a random patch generated.. it just turns every parameter at random, usually producing some jaw dropping or ear splitting tone. Use with caution! lol

So, yeah. We have 1 stereo input (to run anything through the filters and effects) and 6 programmable outs.. 1/4” of course, this isn’t a toy. Headphone jack on the front panel. MIDI in/out/thru. 12v power supply included. I have both the original German 220v and the original German 110v adapters, depending where it’s going, I’ll ship the appropriate one. I also have the original spiral bound manual (English version) which you’ll also get.

Let’s talk about the knobs on this, because it’s important: they are self-cleaning digital encoders, NOT potentiometers. So if they get janky, NEVER DO ANYTHING BUT TWIST THEM UNTIL THEY WORK SMOOTHLY AGAIN!! I see people buying and selling the Q series encoders on eBay all the time because they got antsy and sprayed contact cleaner in there and killed them. Don’t do that. Just twist them for maybe 30 seconds in each direction until you see a normal movement of the values on the screen. Also.. very sorry.. one of the knobs on this one went missing. But they’re easy to move around, I’ve always kept it clean, I normally leave knob 2 under the LCD screen as the absent one because I rarely touch it anyway. Replacing all the knobs with originals (there are some listed on this site right now) is just as easy as finding alternate knobs to slide on the encoders.. that’s if having one absent really bothers you.. personally, it never bothered me, neither cosmetically nor in programming / playing it. This is the only flaw on this unit, outside of that it looks and functions like the day I opened the box from Waldorf HQ in Germany.

I guess it’s highly coveted because it has the companion Waldorf Attack VST software to make programs in, then use this unit with its 6 outputs to slam the beats in a live or studio rig. Yes, you can completely program it using the interface with no computer. Of course. But people seem to like having that extra VST option (it is really cool). Look around forums, you’ll find people sharing kits for this going back to 2003. Chances are if you’re reading this, you already know exactly what it is and why you want it."

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Synton Fenix II Synthesizer

Note: Auction links are affiliate links for which the site may be compensated.

This one in via MATRIXSYNTH reader, David Galea.

via this auction

Fénix II (Synthesizer)
3 VCO’s, 3 different VCO's ( Inputs CV, FM, PWM, Sync e.o, Output square, triagle, sawtooth and some has puls, sub, sine e.o) )
4 different VCF´s ( SVF, 24dB Lp, BPF, 12dB Lp). ( Input CV modulation, SVF has Q-CV control
3 EGR and 4 VCA’s and 5 LFO’s. (Many modules are voltage controlled)
7 Mixers ( 3 audio mixers and 4 DC-Audio mixers).
1 Phaser and 1 Delay (BDD). ( off course voltage controlled)
1 8 step analog sequencer with own clock.
1 Waveshapers, 1 wavemultiplier and 1 full wave rectifier. ( voltage controlled, except for the rectifier )
1 CPR, 1 S&H, 1 Gate delay, 1 Ringmodulator, 1 Slew limiter, 1 fixed +/- 5volt output.
1 Analog noise and 1 Digital noise. ( Digital noise voltage controlled
1 6 Banana to 3,5 mm minijack connectors.
1 Input module with trigger, gate and envelop out.
1 Stereo output module with dual panning and dual VCA. ( off course voltage controlled)

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Neo Ventilator 2 Modular

Published on Jun 14, 2018 Ebotronix

4ms Peg, QCD/Expander²
Analogue Systems RS 110²²
Bananalogue Serge VCS
Behringer Model D (silver R2m)
Cyndustries Zeroscillator
Doepfer R2m², A101-2², A 114²,A131², A133², A134²²,

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JOMOX MOONWIND ANALOG FILTER SYNTHESIZER SN 2012-0008

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The Moonwind is a true analog stereo filter with built-in step sequencer, a fantastic sounding digital effects chip, 2 LFOs and envelope modulation.

Everything is storable and controllable via MIDI.

You can control the Moonwind like a synth with midi notes and play tunes on the filters when they whistle in self-resonance.

The sequencer can record the Cutoff, Q and Resonance per step and filter, turning a stereo filter with analogue feedback effects into a creative instrument

This makes the Moonwind to an easy-to-use and high-quality analog sounding sound engine that is playable like a synth and can be seamlessly integrated into a DAW recording system.

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Blue Sun Two

Published on May 29, 2018 Ebotronix

4ms Peg, QCD/Expander²
Analogue Systems RS 110²²
Bananalogue Serge VCS
Behringer Model D (silver R2m)
Cyndustries Zeroscillator
Doepfer R2m², A101-2², A 114²,A131², A133², A134²²,

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Z wölf beat

Published on May 11, 2018 Ebotronix

4ms Peg, QCD/Expander²
Analogue Systems RS 110²²
Bananalogue Serge VCS
Behringer Model D (silver R2m)
Cyndustries Zeroscillator
Doepfer R2m², A101-2², A 114²,A131², A133², A134²²,
A 141, A143-2,9 ,A149-1, A151²², A152, A156²
A175²²², A185-2, A138m,a²²b²²c²²²

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Analogue Renaissance at SUPERBOOTH - Analog distortion for the TB-303 and pretty much everything else

"TS-303 GT Acid Screamer prototype

Totaly bonkers circuit design with Vbe multipliers, Gyrator, Capacitance multiplier and Negative Impedance Converter in a feedback loop with ridiculously high gain.
Features:

- Jumper selectable input impedance 50k - 500k Ohm
- Variable input level: From nothing to +40dB
- Variable output level: 0 to 8Vp-p.
- Tuneable Symetry of the distortion. From perfect symmetric distortion to keeping bottom or top half of the signal intact while obliterating the other.
- Tuneable Dynamics: It analyses the volume enveloppe of the input signal and can restores this on the output signal. This from zero to doubling of the original dynamics.
- Switchable between overdrive and distortion
- Frequency selective distortion: Only distort certain parts of the spectrum, while keeping the rest itact. 2 frequency selection knobs allowing highpass, bandpass, band-reject, lowpass distortion. Do not confuse this with filtering of the input or output signal. It happens in the distortion engine itself.
- Turbo mode: Self-oscillation happening only at the highest clipping levels. Still exploring the posiblities of this one, but it already made me mistake a 606 for a 303...
- A rack version will also be available

AR3109

Replacement for the IR3109. Sounds and behaves exactly the same.

It even does the distortion that happens in the MC-202 and SH-202 when you run them at low voltage or almost empty batteries.

It's also DC-accurate. So, it also works in the portamento circuit of early Jupiter 4's.
2x1cm 6-layer pcb with plate capacitors to fit everything in the DIL-sized footprint of the original chip

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_AJHSynth Sunrise_

_AJHSynth Sunrise_ from AJH Synth on Vimeo.

"Musical demo from Emmy winning composer Dave Gale, using only AJHSynth Eurorack synthesiser modules for all instruments and percussion."

And some additional details via Sonic Voltage:

LIST OF MODULES USED AGAINST TIMELINE “SUNRISE” BY DAVE GALE
0m 5s – Gemini Sweep – 3 VCOs into Ring SM, into Gemini Filter

0m 5s – White Noise – into Mini Mod Filter, and into Phaser

0m 21s – Full Mini Mod system (x3) to Build chord, DH-ADSR Env used here! (9 VCOs in use for the chord!)

0m 29s Drums –

Kick – Gemini Filter – Hi Res with Filter CV control via Envelope (very snappy/fast) with Filter Cut off set in the mid/Lo range
Snare – White Noise from ‘Glide+ Noise’ and 1 x VCO (Tri) – combined via Ring SM Mixer and put through overdriven Mini Mod filter
Hats – Just white noise through overdriven filter – envelope Decay/Release tweaked in real time!
Hi-Q – Mini Mod filter with full Resoonance – ADSR controlling Freq CV – overdriven!
Open Hats (left channel!) – just noise and a Mini Mod filter
0m 29s Bass – 2 bass sounds – both from the full Mini Mod system

1st – 2 x VCO acting as a Sub bass (octave apart)
2nd – all 3 VCO’s and with filter being tweaked in real time
0m 29s – 2 Sequencer Synth lines

1. Left Channel – Single VCO into Gemini Filter,
2. Continuous panning – single VCO into Sonic XV filter
0m 51s – OB Throat! – Gemini Filter with one VCO, used in dual mode to create the classic OB Throat effect! Cut Off controlled via DAW.

0m 61s – Background Sustained chords – 3 parts of Mini Mod (3 VCOs) all going through the Glide module, and being filter tweaked in real time

1m 15s – Hi Falling Arpeggio line – Sync’d gated LFO and ADSR both controlling Mini Mod filter, summed via CV Mix module

1m 41s – More Throaty OB filter!! Gorgeous!! 🙂

Repetition of the above to the end

Closes with another White Noise sweep.

All sounds were produced and processed by AJH Synth modules, no other sound sources were used, however, standard production and master processes have been used in a DAW/Mac environment, including eq, compression, reverb and delay.