9/7/26 (triple VCF test) EML 200 + acVOKS VCF + muSonics + STG + FSFX + Corsynth + CXM 1978

video upload by Cfpp0

"9/7/26 (triple VCF test) EML 200 + Analog Craftsman acVOKS VCF + muSonics Vanilla Envelope & Vanilla Filter + STG soundlabs Sea Devil’s Filter + FSFX Lopass Gate & Dual Trigger Processor + Corsynth Frequency Divider / Multiplier + CXM 1978

Sometimes the camera won’t focus, not sure why. We ordered a second Analog Craftsman acVOKS VCF and this was a test of how three of our 5U filters sound together with the ElectroComp EML 200. I like how old it all sounds. And I like the limitations of the EML 200, but just wish it had voltage-controllable filters. The two EML 200 sawtooth VCOs are running through the acVOKS VCF (Polivoks), the STG soundlabs Sea Devil’s Filter (Synthi), and the muSonics Vanilla Filter (Oberheim). VCO1 runs through the Vanilla Envelope, modulated by the right LFO on the Free State FX dual trigger processor (in dual LFO mode). The EML master triangle and both of the FSFX LFOs are modulating all the filters. The EML VCO2 runs through the EML VCA, modulated by the master triangle, and then into the acVOKS VCF, which is modulated by a copy of the FSFX right LFO. The acVOKS VCF audio lowpass output is panned left on the Mackie Onyx 1640 mixer. The acVOKS bandpass audio output is modulating the Vanilla Filter, which is panned right. The Vanilla Filter is also modulated by the left FSFX LFO and the EML master triangle. The EML VCA processing VCO2 also runs through the Corsynth Frequency Divider / Multiplier, and that is sent to the FM input on the Sea Devil’s Filter, which is filtering the EML VCO2 gated by the FSFX Lopass Gate, modulated by the EML master square. The master square is also controlling the pulse for the EML sampler. At first the EML sampler is fed noise, then later it’s fed VCO2 for the S&H modulating VCO1 on the EML 200. The reverb was blended on the CXM 1978."

matrix note: trumpets!

8/26/26 (26 MU) EML 200 + .com + FSFX + STG + muSonics + SSL + Corsynth + Trouby + CXM 1978 + (…)

video upload by Cfpp0

"8/26/26 (26 MU) ElectroComp EML 200 + Synthesizers.com Q124 & Box11 + Free State FX 103 Lopass Gate & Dual Trigger Processor + STG soundlabs Sea Devils Filter + muSonics Vanilla Filter + Synthetic Sound Labs 1520 Segwencer + Corsynth c103 Frequency Divider / Multiplier + Trouby Modular Trigger Decay + CXM 1978

Synthesizers.com had a 4th of July sale, right after we moved our ElectroComp EML 400 above the 401, so we got two Box11 cases to house 5U modules to aid the EML system. I covered the ugly Box11 logos with electrical tape, connected the two cases with a metal brace, then attached a Box4 case to the right side, which perfectly fills the whole gap between racks on either side of the EML system. Anyways, this was the first test. The EML 200 master square wave is controlling the tempo, and I switch the range at 0:22. The EML Sampler is sampling noise, and the Sampler out is multiplied on the Box11, modulating both EML VCOs, which run to the Synthetic Sound Labs 1520 Segwencer IV, modulated by the Sampler output. VCO 1 also runs to the EML VCA, modulated by the master sine wave, and that goes straight to the Mackie Onyx 1640 mixer, panned left. The 1520 audio out goes through the STG soundlabs Sea Devils Filter, modulated by the Free State FX Dual Trigger Processor in LFO mode, and the Sea Devils Filter is FM’d by the EML 200 VCO2. A copy of VCO2 is processed by the Corsynth C103 Frequency Divider / Multiplier, which drops the pitch an octave lower, and that detuned version runs through Free State FX Lowpass Gate, modulated by the EML 200 master square wave through the Trouby Modular Trigger Decay. Both the Sea Devils Filter output and the FSFX Lopass Gate output are mixed in the muSonics Vanilla Filter, modulated by the other LFO output on the FSFX Dual Trigger Processor (Modulation in) and the EML Sampler output (v/o in). At the end I pull the cable from the sampler. Reverb was blended on the CXM 1978."

The Man Behind Knobcon and STG muSonics

video upload by Ian Dixon

"Suit & Tie Guy joins me for a TDL Synth Chat covering STG muSonics, Knobcon, modular synth history, why he moved away from software-based music making, and the stories behind his hardware design work.

Suit & Tie Guy is the founder of Knobcon and the person behind STG Soundlabs / STG muSonics. In this long-form synth podcast we talk about early computer music, Numerology, hardware sequencing, the move from software to dedicated instruments, module design, the muSonics story, and why in-person synth events still matter.

Timestamps:
00:00 Intro
00:49 Suit & Tie Guy joins the show
02:07 Early music work and Mac game scoring
06:31 Numerology and analogue sequencing ideas
08:46 Live rigs, Hammond-style controllers and Manchester
11:35 Moving from software to hardware
14:07 KiCad, modular design and prototyping
17:35 Why dedicated hardware matters
20:40 Building a video studio for music technology
23:20 The Lyall four-voice synth and rare hardware
26:43 STG Soundlabs, mythology and muSonics
30:55 What muSonics is and why the name matters
33:37 Finishing the Moog 900-series idea
36:34 Knobcon and planning a part two
39:32 Synth communities and real-world connections
42:01 Sound design plans for the next chat

Knobcon:
https://www.knobcon.com/

muSonics / STG muSonics store:
https://musonics.square.site/

Suit & Tie Guy’s site also links the muSonics newsletter:
https://suitandtieguy.com/

#SuitAndTieGuy #STGmuSonics #Knobcon #SynthPodcast #ModularSynth #Synthesizer #SoundDesign #TDLSynthChat"

Journey West

video upload by davidryle

"Large Format modular synth live studio song.
The new module is a Maneco Labs Sequencer 16 trigger step sequencer. I used it as the main clock source for the rest of the system.
I started with the Maneco Labs Grone dark drone machine module for the opening intro.
The bass line was introduced next using triggers from channel six of the Sequencer 16, with the Corsynth pair of VCO's into the Grove Audio G294A LPF and the Synthetic Sound Labs Tube VCA/Timbral Gate and then on to the STG Soundlabs mixer.
The percussive parts came next. First was a pair of Q206's in Sync mode through a Moon Modular 517S high pass filter. Pitch voltage was from the lower Q960 step sequencer. The pattern pulses were from a pair of Mega Ohm Audio LFO2 modules run through a triple switch module from Lower West Side Studios.
Second part was a single STG Soundlabs Oscillator in drone to the SSL Tube VCA, pulsed by the STG Envelope modified with an LOF to the decay input. Then on through a Behringer Digital Delay. The pattern triggers were from the SSL Geo-Gruvn Euclidean Sequencer.
I used channel 3 from the Seq16 to pulse the SSL VC ADSR with the SSL Woven Spirits module. The SSL Quad LFO was used to fade in and out the pulsing part. The pitch sweeping is done by an LFO to the Harmonic input of the Woven Spirits. The pizzicato string part came next. It was actually the first part I created. The use of channels 1 & 2 from the Seq16 were sent through the SSL Octal Linear VCA with the AD/AR Expander module as envelopes. The sound was from the pair of SSL TZ-VCO's which are pitch controlled by a pair of The Matrix Algorithmic Composer modules. They are sent to a Modcan Dual Delay 73B and on to a Dove Audio D502 Multimode Filter with Hi Pass to Low Pass in 2-pole mode. The reverb is from an UA Golden Reverb in Hall 2 mode.
The final part is the upper Q960 step sequencer with all three rows sending pitch voltages to three oscillators. First row was to the Dove WTF. Second row was to the Mos Lab Moog 901 and 904 array. The third vco is a synthesizers.com Q106. They are mixed and sent to the EHX Grand Canyon in Mod Delay mode. Gate timings from the Moon 563 Trigger Sequencer.
I closed out with the Grone module."

Magnificent 5U / MU modular

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

via this Vemia listing

Click the auction link on top when you get there for additional listings.

"All modules are in basically good working condition. On a few of them you can slowly notice that they have not been used for a long time, but this should easily disappear again with regular use. One or two jacks are a bit stiff.
I am the first owner. Listed from top to bottom and then the rack on the right (not in the main photo, but full of amazing modules).

ModularGrid Rack 1: https://modulargrid.net/d/racks/view/3056577 Dimensions (W × H × D) approx.: 143.5 × 25 × 22 cm Dedicated power supply (from MoonModular), completely independent. Synthesizers.com Q118 Instrument Interface Synthesizers.com Q125 Signal Processor Synthesizers.com Q105 Slew Limiter Club of the Knobs C 994 Multiples Synthesizers.com Q106 Oscillator (VCO) Synthesizers.com Q106 Oscillator (VCO) Synthesizers.com Q113 8-Channel Mixer Synthesizers.com Q106A Oscillator (VCO) Synthetic Sound Labs The Matrix Algorithmic Composer – Model 1660 Corsynth C103 Frequency Divider Multiplier Synthetic Sound Labs VC Envelope Generator – Model 1230 Synthesizers.com Q107 State Variable Filter (VCF) Synthesizers.com Q162 Filter Mixer for Q107 Synthesizers.com Q109 Envelope Generator Club of the Knobs C 905A Voltage Controlled Low Pass Filter Club of the Knobs C 911 Envelope Generator Club of the Knobs C 902 Voltage Controlled Amplifier Club of the Knobs C 905 Reverberation Unit

ModularGrid Rack 2: https://modulargrid.net/d/racks/view/3056596 Dimensions (W × H × D) approx.: 143.5 × 25 × 22 cm Dedicated power supply (from MoonModular), completely independent. Synthesizers.com Q124 Multiples Moon Modular 563 v1 4-Track/8-Step Trigger Sequencer Moon Modular 528 Sample and Hold Moon Modular 524 Quad Low Frequency Oscillator Moon Modular 524A Quad Low Frequency Oscillator Assistant Synthetic Sound Labs 5-Pulser / Dual Analog XOR – Model 1710 Club of the Knobs C 962B Sequential Switch (bidirectional) Club of the Knobs C 995 Attenuators Synthetic Sound Labs Double Deka VCO - Model 1130 Synthesizers.com Q115 Spring Reverb (Modified with 2 Tanks) Club of the Knobs C 911P v1 Pentaphonic VC Polyphonic Envelope Generator STG Soundlabs Digital Attenuators Synthesizers.com Q109 Envelope Generator Club of the Knobs C 906A Low Pass Gate Club of the Knobs C 906A Low Pass Gate Club of the Knobs C 911 Envelope Generator Club of the Knobs C 902 Voltage Controlled Amplifier Club of the Knobs C 994 Multiples

CLICK FOR MORE »

2/24/26 SSL 1660 + STG Oscillator + Zerosum 6550-99 & Scorpion Tail + Alesis MIDIVERB II + CXM 1978

video upload by Cfpp0

"This is a montage of several tests of the second STG soundlabs Oscillator we recently picked up, sequenced by the Synthetic Sound Labs 1660 The Matrix Algorithmic Composer. The STG saw output is panned center, with the triangle output panned left, through the Zerosum Inertia Scorpion Tail. Eventually the STG square output is controlling the Zerosum 6550-99 thyratron oscillator."

Knif BBD / Modcan videos pt 2 via Drew Neumann

video upload by GSF AGENCY

"'So I set up this simple patch…'
🎧🎧

While the patch would take a while to describe in great detail, here are the main points. All of the audio in the clip is coming from the Modcan processed through the Knif BBD in realtime. The Moog Subsequent 37 is sending arpeggiated notes, modulation, and pitch wheel to the STG Continuo, which is converting that to control voltage (plus internal LFO) and gate for the modular. The pitch CV is then routed to a Wiard Mini Wave, which imposes various quantized key modes and scales on the pitch. The gate signal is routed to various envelopes, LFO resets, and the Milton Sequencer (upper right) to clock everything together and keep it in sync. Milton is handling several duties including pulse width offsets for the oscillators, CV offsets for the filters, Wiard Mini Wave 2s wavetable select, and trigger outputs for the rhythmic parts. The "voice" is 3 oscillators (one of which is processed through the second Wiard Mini Wave for wavetables) through the Moog 904a filter, 2 more oscillators going to 2 Arp 4075 filters panned hard left and right, 2 oscillators plus ring modulator and spring reverb acting at the "cymbal," white noise and Dark Star Chaos triggered by Milton for additional percussion effects. The Knif BBD is tap-tempo synced to the Moog Subsequent 37's arpeggio clock. From there, everything is messing around with the Knif BBD controls, selecting notes on the Moog, and noodling around on the Modcan's front panel controls.

Drew Neumann, Droomusic ASCAP copyright 2026

@knifaudio

#analog #delay"

Knif BBD / Modcan videos via Drew Neumann

video upload by GSF AGENCY

"'So I set up this simple patch...' 🎧

While the patch would take a while to describe in great detail, here are the main points. All of the audio in the clip is coming from the Modcan processed through the Knif BBD in realtime. The Moog Subsequent 37 is sending arpeggiated notes, modulation, and pitch wheel to the STG Continuo, which is converting that to control voltage (plus internal LFO) and gate for the modular. The pitch CV is then routed to a Wiard Mini Wave, which imposes various quantized key modes and scales on the pitch. The gate signal is routed to various envelopes, LFO resets, and the Milton Sequencer (upper right) to clock everything together and keep it in sync. Milton is handling several duties including pulse width offsets for the oscillators, CV offsets for the filters, Wiard Mini Wave 2s wavetable select, and trigger outputs for the rhythmic parts. The "voice" is 3 oscillators (one of which is processed through the second Wiard Mini Wave for wavetables) through the Moog 904a filter, 2 more oscillators going to 2 Arp 4075 filters panned hard left and right, 2 oscillators plus ring modulator and spring reverb acting at the "cymbal," white noise and Dark Star Chaos triggered by Milton for additional percussion effects. The Knif BBD is tap-tempo synced to the Moog Subsequent 37's arpeggio clock. From there, everything is messing around with the Knif BBD controls, selecting notes on the Moog, and noodling around on the Modcan's front panel controls.

Drew Neumann, Droomusic ASCAP copyright 2026"

Modern Oberheim 4 voice inspired STG Musonics “Lyle” polyphonic analog modular synth #synth #analog

video upload by INHALTVIDEO

JLR's Modular Synthesizers - System Breakdown #15

video upload by John L Rice

"This is my fifteenth video breakdown/rundown, this time for my largest system, the mighty 5U "wall"! 🥳 This is likely the last installment of this series.

Index:
0:00 Beginning
2:23 Preface
4:30 Introduction
5:28 Section 1

CLICK FOR MORE »

9/29/25 SSL 1660 + FSFX 103 + STG + acVOKS + .com Q128 + Paia 6740 + MIDIVERB II + MP-4 + DDL-3

video upload by Cfpp0

The Finish Line

video upload by davidryle

"Having a little fun with the Q960 sequencers and the Moog Matriarch.

The Q960 pair are set up for index sequencing on the bass line. This is a fun way to mangle the bass line but keep it steady in time with the drum pattern. The gate duty was handed to the Dotcom Q172 quantizer for only sending gates when there is a change of pitch voltage. This helped to avoid the typical pulse rhythm.

The bass voice is a pair of Synthetic Sound Labs TZ-VC Oscillators in FM coupling. There is a third VCO from SSL for a sine wave sub-oscillator. These are mixed through the Corsynth C114 transistor drive mixer to the Oakley Voltage Controlled State Variable Filter in low pass mode. The signal is split and sent through the Modcan 73B stereo echo delay and also a dry signal is driven by a second Corsynth T-Mixer for added saturation.

The drum sounds are from the Delptronics LDB-2E and the TipTop SD808 snare. There is a Mutable Instruments Grids and the Moon Modular 563 trigger sequencer coupled to trigger the modules. The snare is sent through the MakeNoise Echophon delay and produces the raspy pulse voice heard throughout.

A hollow wood/metal block percussive sound is generated by a pair of Dotcom Q106's, a Mega Ohm Audio CdS LPG and an SSL Digital Delay. This is triggered by the STG Trigger Mini Store and reset by the Moon 554 Octal Clock Divider.

The IN-YER-FACE lead line is the Moog Matriarch through a T.C.Electronics D-Two delay unit.

Clock source was from Cubase through the STG Time Divider.

A pair of Dotcom Q962 Sequential Switches were used to route the various step gates from the lower Q960 Sequencer to the upper Q960. Routing and pitch values were pre-determined after hours of rehearsal to set up a particular scale or mode that determined what I should play on the Matriarch.

It should be noted that certain happenstance values of the sequence pattern produced passing tones that lead to the typical blues scale in C. I just had to go with it."

KNOBCON 2025 with JAde Wii

video uploads by JAde Wii

Two parts. Part 1 features opening performances. Part 2 features gear table/booth walkthrough. You can use the player controls to skip around.

Featuring: Hive Mind Synthesis, Modular for the Masses, Hakai Labs, Rainy Day, Hailstorm, 1010 Music, Oberheim, Buchla, Five12, Rain City, Noise Engineering, Synclavier, Fairfield, Dog Paw, SISKworks, EarthQuaker Devices, glowfish, WMD, Roland, Drift (zero), AMP, Gauche Electrosound, Vondle, Ocean Dreams, STG Labs / MuSonics, Synth City, Deftaudio.

💖SUPPORT→ https://www.patreon.com/join/jadewii
🌎 WEBSITE → https://www.jadewii.com/

See the Knobcon label below for additional posts.

Meet You At The Top

video upload by davidryle

"A two part piece. Both are pitch voltage quantization controlled from the ACL Sinfonion. I switch presets through the first part from preset 1 - 4 and in the second half I leave it on preset 5.

The Sinfonion chord section is sending pitch quantization to the Doepfer A-111-4 quad VCO and A-105-4 quad SSI filter. The mixer is the Corsynth T-Mixer. The Empress reverb in Ambient Swell green mode is used.

The opening voice is Channel 2 of the Sinfonion and is sent to the Dotcom Q206 with the Dove D502 in BP mode P1, then an SSL Serge Resonant EQ and finally the Strymon Blue Sky.

A counter voice is the Channel 3 quantizer to a pair of Synthetic Sound Labs TZ-VC Oscillators to the Oakley VC-SVF in BP mode. The audio is routed through a Moon 517S high pass filter to roll of the lower mid tones. I used an instance of Relab Development's LX480 classic Lexicon reverb. This same voice is used for the main melodic part in the second section.

The Channel 1 of the Sinfonion is to the bass voice which is the Dotcom Q169 Oscillator++ and Grove Audio G294A ladder filter.

The Sinfonion arpeggiator part is to the STG oscillator duet and the Dove D501 2069 filter. The signal is sent through the Modcan 73B dual delay. In the first section this voice is solo, but in the second section I added in a duplicated run of the MosLab 901/904A through a different envelope which is timed a bit more sparse and sent through the second section of the 73B delay.

Most of my time was spent mixing levels and changing the timing of the SSL Hagiwo Geo-Gruvn euclidean sequencer. The clock timing was controlled by row 3 of the Moon 563 trigger seq. I used two different memory presets on the Geo-Gruvn for each section. These timings were used for the gate controls to the SSL Octal VCA, CV-8 Breakout and AD/AR Expander. The eight channel vca handled four of the voices. Very cool array of modules.

I also sent and effort to control the timing of the STG Voltage Mini Store's timing with row 2 of the 563. The right VMS is used for the Root control to the Sinfonion. The faster moving left VMS is to the arpeggiator of the Sinfonion.

The Sinfonion is using various cv's from the Q960 step sequencers to affect the chord spread and note selections. Also an LFO is used to affect the pre-transpose of the chord section.

A convoluted patch using the Lower West Side Studios CGS88 triple switch, the Dove D900 sequencer and three voltage sources to send control voltage to the transpose on the Sinfonion. I used the Moon 564 trigger stage 1 to turn this on and off by hand when needed.

The final clangorous opening and ending patch voice was the Mutable Instruments Rings through the Behringer Bode Frequency Shifter clone and the Encore Frequency Shifter, and on through the Tip Top Z-DSP signal processor running Halls of Valhalla reverb (Niflheim preset). It was also the midway noise rush background sound where the sections changed. These were added later in Cubase and triggered by hand.

The sections were performed at once live to Cubase and video edited in Final Cut Pro."

8/18/25 (feedback) Metasonix S-2000 + Paia 6740 + Alesis MIDIVERB II

video upload by Cfpp0

"The Metasonix S-2000 sounds like a pretty cheerful creature with both contour two and contour three engaged, but gets more angry when contour three is turned off. A lot of that raspiness is due to feedback. The S-2000 audio output is multiplied by the Synthesizers.com Q124, then a copy goes to the Mackie Onyx 1640, with spring reverb from the Paia 6740 and stereo reverb from the Alesis MIDIVERB II, which is what we hear in the video. Another copy of the S-2000 output is sent through the STG soundlabs Attenuators, to the Lower West Side Studios M830 Signal Distribution System (just to convert it to 3.5mm), into the audio input on the S-2000 so it hears itself hearing itself."

STG MuSonics Vanilla Voice (5U MU Dotcom Large Format!)

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

via this Reverb listing

You can find demos in previous posts here.

From the listing:

"If you have not been following the 5U scene, you may or may not know that Suit and Tie Guy's eurorack company, STG Soundlabs, was acquired in a private equity trade valued at 6 million $DOGE by America's oldest synthesizer company, MuSonics (makers of fine musical instruments). You may also not know that this new and revitalized MuSonics then set about completing the work that Tom Oberheim started and created the "Vanilla Synthesizer" -- the culmination of all of the circuit and synthesis ideas of the Oberheim Two Voice. This is the first version of that synthesizer.

If you want SEM type sounds, this is the best sounding SEM that it is possible to introduce into your studio in the year of our lord 2025. Arguably, it is the best sounding analog monophonic synthesizer that currently exists. Set aside that it obviously looks beautiful and amazing and ergonomic and that it invites you to play it; it simply sounds better than any other monosynth made in this millennium.

Including STG's unique backplane CV/Gate cables to pre-patch control signals between modules, making these modules something like an Oberheim SEM with Arp 2600 pre-patchability -- this thing is a true modern classic. :)"

CLICK FOR MORE »

“Liar, Liar, 960 Denier!” 😅

video upload by John L Rice

"I’ve been getting a bit burnt out doing endless video editing lately so when my friend David (Kindred Lost) made a nice cover/demo of his Moog 960 style sequencer doing the bass sequence from Tangerine Dream’s 'Rubycon' and said 'nothing but the 960 can do this' so I fired up my trusty Moon 569 sequencer to see if I could do it too! 🤓 David’s demo sound much more 'Moogy' that mine and is closer to the original TD track, I mainly just wanted to see if I could recreate similar patterns. Check out David's video 👌😎: • Franke and Ruby [posted here]

I used the following modules:
Moon Modular: 569 sequencer
Oakley: Slim VCO B (as VC clock)
Marienberg: Envelope Generator A, VC Sine Phase Oscillator
Noise Engineering: Cursus Iteritas Magnus VCO
STG Soundlabs: Post-Lawsuit Lowpass Filter
Synthetic Sound Labs: Tube VCA, Quad LFO
Synthesizers.com: Q125 Signal Processor

Also:
Allen & Heath: MixWizard 20S
Lexicon: MX400
Strymon: BigSky, Timeline"

Franke and Ruby

video upload by davidryle

"I keep returning to the bass line off of Tangerine Dreams 'Rubycon' (1975).
This rendering is more of an exploration of variations of how to control that sequence on the synthesizers.com Q960, a clone of the Moog 960 Sequential Controller. Short but fun and always satisfying.
The oscillators used were the Q169 dual Oscillator, a Q206 and Q206A. The Q169 is in square wave and sync, the Q206 is doubling in a sawtooth wave. The Q206A is a triangle wave directly to the mix in a lower octave.
The filter was the Grove Audio G294A Tribute Series Moog transistor ladder low pass.
I also used a tube drive from the Synthetic Sound Labs/CGS 1530 Tube VCA/Timbral Gate module after the output of the filter.
The envelope generators included a Q109 for the final VCA shape, another Q109 as the filter shape, an STG EG for the tube drive gate shape and another STG EG for the lower bass vco.
The signal was split and sent to the Yusynth panning mixer from Lower West Side Studios and to an Echo Fix tape echo/reverb device. The tape echo was panned using the second row of the Q960 sequencer. That row was also sending a filter modulation voltage. The final output of the mix was sent through an Empress Reverb pedal in red reverb+delay setting.
The final third row of the Q960 sequencer was used in 'Third Row Control Of Timing' mode for the fast burst motion as in the original bass line performance by Tangerine Dream."

A Towel For Ms Winters

video upload by davidryle

"Large format modular synthesizer recording live in the studio.
The opening noise burst is the Dove WTF in noise mode along with the Sputnik WCRS to an Oakley SVF in band pass mode to the Modcan 73B dual Delay and Z-DSP with Halls of Valhalla reverb. Modulation to the 73B is from the STG Voltage Mini Stores for delay cv.
Noise cacophony part is a pair of STG Soundlabs Oscillators to the Oakley Sound Systems Ring Modulator to a Grove Audio LPF and a MegaOhm Audio MA20 in highpass mode. The signal is sent to a tape echo then compressor.
The echo drone bass is the dotcom Q169 vco to a Moon 517S LPF. The echo delay is a stereo Lexicon MX200.
The lower bass tone is the Woven Spirits (MI Plaits) from Synthetic Sound Labs. Straight in, no filter or envelope. The chords are a pair of dotcom Q206 vcos and a pair of Q106 vcos for four part harmony. The cv source is the dual Matrix from SSL in dorian modes. A pair of dotcom Q171 and Q172 Quantizers were used with gates from the Geo-Gruvn to time the S&H pitch voltages. Toward the latter half of the piece I was playing the quantizers to change modes from augmented to diminished and back again. The audio signals are sent through a LWSS Yusynth panning mixer then a pair of filters. The Dove D502 in low pass four pole and the Frequency Central System X in 24dB low pass mode. They are sent to the Empress Reverb pedal in blue sparkle mode.
All gate timings were provided by the SSL Hagiwo Geo-Gruvn sequencer and the STG Time Divider. Additional divider s are the Moon 564, Moon 563 and STG Trigger Mini Store.
The theme here was the well known stories of the femme-fatale-gone-awry roles Shelly Winters played in many famous movies. She was drowned a few times and it became an urban legend of sorts. A great actress that rarely was rewarded with much favor but did finally reach a celebrated status."

Covalence

video upload by davidryle

"Large format 5U modular synthesizer with the Groove Synthesis 3rd Wave.
Two passes. The first was the modular synth, and the second was the played lines on the keyboard. All sounds except the melodic part was recorded in real time from the modular.
Two Matrix Algorithmic Composer modules from Synthetic Sound Labs were used for the moving lines throughout. These were fed to a pair of SSL/Ian Fritz Thru-Zero oscillators. The outputs were mixed straight and also split to an Encore Electronics Frequency Shifter, MOTM 440 Filter and heavily modulated 73B Modcan Dual Delay. Further processing with the Empress reverb and the Dove Audio D501 filter.
The bass notes were generated by the STG Soundlabs Voltage Mini Store to a pair of STG Oscillators and a Dove Audio WF. The filters included the MegaOhmAudio MA20 and the Frequency Central System X LPF.
A Q960 sent the arpeggio sweep voltage to an SSL VCO through a Behringer DD400 digital delay.
A Ring Modulator patch on the Q169 Qxcillator ++ from Synthesizers.com was directed through an Oakley Sound Diode Super Ladder filter then through an SSL Digital Delay.
The S&H sounding patch was not a sample & hold at all. It was a combination of a Q960, West Coast Random Source, MosLab 901/904A and a MegaOhmAudio CdS through an Oakley VC State Variable Filter."