"Passive bandpass filters are an obsession of mine, so it was just a question of time until AudioThing and me would make a plugin of the special subset called octave filters. Octaves is out on now: https://www.audiothing.net/effects/Oc...
My Music: http://hainbach.bandcamp.com"
"Hainbach’s Bandpass Filter
Octaves is our latest collaboration with Berlin-based composer and YouTuber Hainbach. It is a filter plugin designed to take apart the audio spectrum in spreads of octaves, allowing for unique and enchanting spectral sound design effects. Octaves gives you a retro-scientific approach to sound that echoes the timeless productions created in the BBC Radiophonic workshop or the WDR Studio für Elektronische Musik by the Avantgarde masters, and modern places like Willem Twee, Strøm, and Hainbach’s own laboratory.
Octaves is available for macOS, Windows, and Linux (VST2, VST3, AU, AAX, CLAP).
It’s also available on the App Store for iOS and iPadOS (AUv3 and Standalone).
"Benjolin Modular Synth (Sample Pack) https://akihikomatsumoto.sellfy.store... Bringing Harmony to the Edge of Sound Octa Comb was created in response to a growing gap in experimental music. While modular synthesis and advanced DSP have opened new territories, much of the resulting sound remains inaccessible to broader audiences. Octa Comb offers an alternative path by transforming even abrasive or chaotic material into tonal, resonant textures.
Eight Filters, Infinite Resonance At its core are eight finely tuned comb filters, capable of extracting pitch content from any audio input. Whether you are working with field recordings, dense modular patches, or raw noise, Octa Comb reshapes the material into harmonic structures that can be eerie, beautiful, or otherworldly.
Control Through Simplicity Sound shaping is streamlined. Dial in the desired amount of feedback and feedforward. Then choose eight pitch points. Build dissonance, stack chords, or align to your favorite scale. No menu diving, no cryptic modulation paths—just direct and musical interaction.
Ubique from Manifold Research Centre sets two distinct micro time modulation cores in a spiral dance, providing a feedback phase network of flanger and phaser for entangled explorations. At the left side, a BBD based flanger explores the timbral manipulation of short delay times, with time spans ranging from 5-250ms. At its opposite is a 10-stage transistor ladder phaser, creating shifting harmonic movements and self-oscillating at high settings. The flanger's output sums into the input of the phaser, which can then be sent back into the flanger using the central feedback slider, inviting an infinite loop of audio processing. When combined and carefully managed alongside the two effect-specific feedback controls, these three opportunities for nonlinear gain management unveil a vast sonic landscape. Here, metallic tones, full spectrum percussive punctuations, and harmonic screams of distorted delight await your inspired patching.
As for patching, Ubique provides plenty to be inspired by. Independent audio inputs and outputs allow for summing diverse signals within the temporal torrent, and create unique stereo effects with output signals tapped from distinct processing positions in the loop. Manual and CV controls on each core for frequency and resonance, with attenuverters for the frequency CV inputs, allow you to shift and mangle the feedback processing with external signals. The BBD's dry/wet control and a phase invert switch for the phaser provide even more ways to manage and manipulate Ubique, with each interaction inviting new avenues of sound design. Whether you're summoning spectral wails in an all-out maelstrom of feedback or deftly dialing-in daring effects with careful control, Manifold Research Centre's Ubique is an otherworldly examination of time scales beyond comprehension, sure to draw out dedicated sonic explorers to diverse musical ends.
"First sounds with the Mannequins Sisters, such an interesting little module. In its core is a triple filter (Hi, Low and Band Pass) but it works great as an spectral mixer. I am slowly modulating the frequency cutoff so that the different sounds come and go progressively. Very little resonance added, it can be very resonant!
// Patch Notes //
Voice 1- Arbhar recording of my voice and ambient sounds with the internal microphone. High input of Sisters.
Voice 2 - Maths Tom sound into Rings. Center of Sisters.
Voice 3 - Panharmonium with a Random sequence from Pams into the Low input of Sisters.
These 3 voices go into the Xaoc Praga mixer, with Mimeophon and FX Aid in the sends. I am modulating the volume and panof Voice 2 from Øchd and Pams, and the panning of Arbhar from Pams too. The mix goes through Qubit Mojave for the occasional reversed granular bleep.
Voice 4 - Subharmonicon through Blooper as a delay and Mercury 7 as Reverb.
Voice 5 - Low kick from DFAM
Recorded in a single stereo mix and mastered in Ableton."
"(Scroll down for English)
Balayages de fréquences sur le module Frequency Vault de Bard Synthesizers. (stéréo).
www (point) noirsynthetique (point) com
***
Bard Synthesizers Frequency Vault frequency sweeps. (Stereo)
www (dot) noirsynthetique (dot) com"
Tube based module.
"Frequency Vault is a drone powerhouse, resonant EQ, quirky drum machine, spectral mixer - all in one! Five pure-tube resonant filters with no less than 15 vactrols inside!
Features ◯ 5 separately adjustable vacuum tube filters
◯ Pure triode Sallen-Key type filters with soft saturation and resonance
◯ Selectable between LP/BP modes on band 1
◯ Selectable between BP/HP modes on band 5
◯ Common Voltage control over cutoff frequencies
◯ Voltage controlled Cutoff Spread parameter
◯ Common input and Separate inputs for each filter
◯ Common resonance control and separate resonance control for each filter (PING)
"Tom takes a look at Smear, the debut module from Smoothie Audio. It’s a dual stereo 98-pole allpass filter, and it’s capable of some pretty mind-bending spectral effects.
"We say... It's not often that we come across something genuinely new and innovative in Eurorack these days, but Smear is just that - a pair of stereo 98-pole all-pass filters that open up all sorts of strange sonic territory. Brilliant!
Manufacturer's description Smear is Smoothie Audio’s first Eurorack module - a dual stereo 98-pole allpass filter unlike anything else in your rack.
At its core, Smear takes a deceptively simple concept - the allpass filter, usually buried deep inside reverb algorithms — and refines it into a playable, sculptural processor. A single allpass subtly shifts the phase of incoming audio while passing the entire signal unfiltered. Stack 98 poles in series, and the effect becomes striking: frequencies across the spectrum are delayed by different amounts, creating a rich spectral delay that can smear, morph, and transform sound.
Smear can be become different effects, according to how you set the parameters:
Transient Smearing & Spectral Delay that reshapes transients, can add punch Resonator & Percussion Voice for metallic, physical-modeling tones when pushed into feedback territory Morphing filter & Phasor for animated timbral movement Interface & Controls
The panel is laid out symmetrically, with two identical sections (Left and Right). By default, stereo audio flows left → right → out, but a dedicated Split Mode allows each side to process audio independently.
Each section offers three core parameters — Frequency, Resonance, and Stages — each with dedicated CV inputs. Frequency and Resonance have attenuverters for precise modulation. A global Feedback control (with CV) unlocks resonant, flanger-like, and physical-modeling behaviors.
The Stage sliders reveal Smear’s hidden depth: with LEDs indicating crossfade modes between filter poles, you can dive into complex notch filtering, animated flams, and evolving timbral movement. Modulate them, and the module comes alive with unpredictable, dynamic filtering effects.
Built on the Daisy platform by Electrosmith CV inputs -5V to 5V 48kHZ sampling rate"
"Coming in hot after Hieroglyphic's first release 'Plume' here we have OPALINA which is a stereo spectral playground. It's billed as a filter network, with triple band pass resonator modes and an isolator multi mode network. It has multi band outputs for creative modular processing, with the including expander it also has specific (and stereo) low mid and high band inputs. Loads to go at, but distilled down into exploring 3 patches here for our 3 PATCHES series of videos."
*TIMING INDEX // CHAPTERS*
The broader, patch by patch sections are in ALL CAPS and sub sections that might be useful to skip to are all lower case.
INTRO 00:00 Hello & previews 00:57 What is Opalina & what are we doing? 01:33 Feature run down 04:00 PATCH 1 // RAW SOUNDS & OSCILLATOR SHAPING 04.22 The raw sound of the resonator & isolator modes 05.49 Building a VCO shaping patch 07.24 Patching FX sends from specific frequency bands 08.25 Series channel patching for steeper filter slopes & more resonance 09.41 v/oct tracking
BONUS HYPNOPTIC MULTIBAND FILTER PINGS 11:40 / divkid for the full patch run down
PATCH 2 // SPECTRAL MIXING 12:45 Creative spectral mixing for multiple FX modules 15.15 Creating a multi band spectral mix 16.24 Modulating a spectral mix 17.32 Audio rate modulation 18:51 Spectral drum FX 20:43 Spectral Rings FX 22:51 PATCH 3 // MULTIBAND MODULAR PROCESSING
Stereo state-variable filter networks configurable in two modes. RESONATOR is a triple bandpass alignment, emphasizing resonant peaks and formants. ISOLATOR is a cascaded state-variable topology with variable mid-bandwidth for use as resonant crossover.
· RESONATOR: triple bandpass filters with vc peak span and resonance. 12db/oct filter slopes.
· ISOLATOR: cascaded state-variable filters with vc bandwidth and resonance. 24db/oct filter slopes.
"Benjolin Modular Synth (Sample Pack) https://akihikomatsumoto.sellfy.store... Bringing Harmony to the Edge of Sound Octa Comb was created in response to a growing gap in experimental music. While modular synthesis and advanced DSP have opened new territories, much of the resulting sound remains inaccessible to broader audiences. Octa Comb offers an alternative path by transforming even abrasive or chaotic material into tonal, resonant textures.
1. Introducing the GCS - Spectral Synthesizer
2. GCS Spectral Synthesizer - Resynthesis Demo
3. GCS Spectral Synthesizer - Turning Images Into Sound (Image Synthesis Demo)
4. GCS Spectral Synthesizer - Drawing Sound with the Harmonic Brush
"I'm very excited to release my new Spectral Synth, an additive synthesizer plugin that allows you to draw your own harmonics, clone sound timbres, play the harmonic content of images, and so much more.
In this rendered video, you can see an image being played in real time via a MIDI keyboard, hearing its unique harmonic content. At the end of the playback, while holding a chord, I draw some extra harmonics onto the spectrogram to show how you can evolve sounds on the fly.
Spectral Synth is designed to be both incredibly powerful and intuitive. Whether you want to meticulously craft a sound from scratch or generate complex textures with a single click, it has you covered.
Try it for free for ten days via our website! Available on all plugin formats for both mac and windows.
Hybrid Sound Engine: A true hybrid synthesizer combining a powerful 32-partial additive engine with classic, band-limited analog waveforms (Saw, Square, Triangle) for ultimate flexibility.
Draw Your Sound: Use the brush tool to directly draw or erase harmonics and noise on the spectrogram. Adjust brush size and intensity for precise control.
Drag-and-Drop Synthesis: Simply drop any audio file (.wav, .aif, .flac) onto the screen to automatically clone its harmonic and noise profile, creating an instant starting point for new patches.
Image Synthesis: Drag and drop any image file (.png, .jpg) to translate its brightness into playable harmonics.
Generative Tools: Instantly create complex sonic textures with the "Generate Pattern function.
Partial Mixer: Take manual control over the volume of all 32 individual harmonics with a dedicated fader bank. Push faders above the midpoint to add baseline volume or pull them below to scale your drawn harmonics.
Harmonic Filtering: Isolate specific harmonics with "All," "Even," "Odd," and "Inharmonic" modes for unique timbral shaping.
MODULATION & PERFORMANCE:
Full-Featured Arpeggiator: A comprehensive arpeggiator with multiple patterns (Up, Down, Up/Down, Random, Chord), tempo sync, octave range, note length, and swing controls.
Flexible LFO: One extensive LFO with multiple waveforms that can be routed to modulate pitch, filter cutoff, animation speed, and even create unique "rippling" effects across the partials.
Advanced Analog Modeling: Dial in vintage character with dedicated "Analogness" controls for wow and flutter for incredibly rich, organic sounds.
EFFECTS & FILTERS:
State Variable Filter: A versatile filter with Low-Pass, Band-Pass, and High-Pass modes, complete with its own dedicated ADSR envelope, resonance, and velocity sensitivity.
Vintage Tape Echo: A rich delay section with tempo sync, feedback damping, and a "Tape Dropout" to simulate the beautiful imperfections of analog tape.
Expansive Reverb: A high-quality reverb module to add space, depth, and atmosphere to your sounds.
Get Spectral Synth Today: www,gulfcoastsynthesis.com for $69 or try the free demo!
Follow Gulf Coast Synthesis for more demos and tutorials: www.instagram.com/gulfcoastsynthesis"
"FM-X is the FM synthesis engine found in the Yamaha MODX and Montage Series. With 8 operators per voice and 128 voice polyphony, this is a very capable sound generator. In this video, I create a "Piano with pads and sparkles" sound, explaining which options do what in the process. This is not a complete overview, just the process of making one particular patch and explaining every step. Table of contents:
00:00 introduction, overview and terminology 00:55 selecting the FM-X engine and opening the editor 01:24 selecting an algorithm 02:15 quick editor, and explaining the algorithm 02:46 operator envelopes 03:43 velocity sensitivity 04:05 setting up the first modulator: ratio, level, envelope and velocity 05:30 second carrier and modulator: tuning 07:22 building the pad: distorting the waveshape with the spectral option 08:14 skirt value (oscilloscope view) 09:00 tuning/detuning and browsing some more spectral options (including resonance) 10:17 adding another operator and modulator 11:15 putting it all together / fine adjustments 11:37 adding LFOs for pitch and amp modulation 14:03 adding a "sparkle" with modulator 3 16:46 filter type, LFOs and envelopes 18:29 FM color 19:16 effects: insert and global 20:24 physical controls (mod wheel and poly aftertouch) 21:33 the result - a new age pad with some alien weirdness 22:55 conclusion - do the youtube thing! :-)
Ghosts is a 6-voice physical modeling effect and instrument.
Excite high-fidelity strings, tubes, and bars to conjure resonant objects and acoustic environments: a blooming cello, a playful xylophone. From organic realism to spectral fantasy.
Retune the voices to preset chords — including custom chords and microtonal scales. Connect a MIDI keyboard for polyphonic play and the full spectrum of its synthesis engine.
arc*C is a 4-voice polytonal instrument in which each voice can continuously arc between two independent synthesis engines. fft based Spectral harmonic / phase distortion. Core system attributes include a 32-complex-envelope matrix, ×4 complex 3-D lattice sequencers, ×4 DSP algorithms,127 presets, a partnered drawing app to paint sound with Google Gemini API integration & a 1.91″ AMOLED display.
spectral core:
unique comb filter topologies
phase distortion core:
> 500 harmonics
for FFT stretching, warping, combing and morphing of odd / even partials.
2 large experimental LUTs each with scanning, 4-quadrant multiplication
& phase warping
Envelope matrix, 3-D Lattice Sequencers, DSP, Google Gemini API & arc*C app. This core is built around 32 complex envelopes and an envelope matrix for all points of control and modulation within the system. These envelopes can have up to 80 break-points and the ability to control segment count, segment looping, rate, amplitude, rate modulation and cycle / trigger source. Randomise envelopes individually or the entire envelope matrix at once.
3-D lattice ×4: arc*C also has ×4 X-Y-Z lattice Cartesian-like sequencers, represented by four mathematical shapes. Each one steers an invisible point through an 8 × 8 × 8 grid and is constrained by division, jitter, swing, stochastic ratchet/repeat subdivision, axis modulation, snake and orbit shape control, 16-scale index, and per-cell parameters (rest/ratchet %, gate %, probability). These can be the basis of chordal polymetric movements, complex spectral drum rhythms and more.
arc*C has ×4 unique DSP algorithms:
Gorbachev gas 2: 16-pole phaser with through-zero, per-stage coefficient offsets and feedback/resonance.
pnp=f: through-zero flanger.
lorax space 2: Hadamard-matrix reverb / FDN structure.
Built on fpga and arm cortex technology. ** Programma 900 has 6 polytonal voices, each featuring Odd harmonic, Even harmonic, Harmonic partials, Harmonic tilt and fundamental frequency control.
** Four quadrant multiplication of individual voices
** x32 complex gestural cv buffers allowing 6 min cv recording windows for all x32 mod destinations and voice envelopes
** individual modes for speed and attenuation for each x32 gestural cv buffer.
"Hello and welcome to this video on the ST Font Eurorack multimode, saturating, wild resonating filter demo! ST Font is made by NANO Modules and builds on their ‘liquid filter’ design from Font and makes it stereo and adds a load of new features. This demo goes from the raw sound and features through more basic patching, expanding things from mono into stereo, working with stereo and a variety of sources through to more advanced synthesis and modulation options. Patches all below, skip around as you like!"
*TIMING INDEX // CHAPTERS **
ALL CAPS ARE THE PATCH/SECTION CHANGES lower case are separate moments you might want to skip to within that sub section
00:00 HELLO & PATCH PREVIEWS 01:41 WHAT IS THE ST FONT & FEATURES 03:58 RAW SWEEPS & SOUNDS - low pass 04:59 - band pass 05:22 - high pass 05:50 - span stereo images 06:18 - spectral see saw 06:42 - vari-width band pass 07:58 MONO TO STEREO ENHANCEMENT + ACID ACCENTS & AM 09:27 - creating accents 10:37 - mono to stereo sequencing 11:41 - adding AM 12:28 MODERN BASS DESIGN WITH SELF PATCHING 15:54 CREATING NEW TEXTURES BY PROCESSING FX 19:54 WILD SUPER STEREO DRONES 21:13 CREATIVE DRUM PROCESSING - COMPRESSION, EXPANSION, AUTO FILTER, SATURATION AND BEYOND! 22:13 - saturation for beats 23:02 - HP bass boost trick 24:03 - auto filter FX 24:46 - dynamics expander 25:13 - compression 26:05 - AM overtones 26:30 SELF PATCHING MODULATION - NEW RIPPING TONES AHOY! 28:44 OSCILLATING FILTERS AS DUAL VCOS 31:56 A FASCINATING WORLD OF STEREO FILTER PINGS 32:44 - how to ping a filter 33:56 - modulation & FM 36:11 AUDIORATE MODULATION - BASIC TO COMPLEX PATCHING 36:46 - basic audio rate modulation 38:32 - modulated modulation 39:44 - stereo span
"ST·FONT is a stereo liquid filter that takes the beloved core of our FONT module and expands it into a powerful stereo filtering tool.
With a dual filter core (one for each channel), it offers a massive liquid sound with smooth resonance, adding warmth and depth to any audio signal.
Dual-core Stereo Filtering
Independent filter cores for left and right channels with Low Pass, Band Pass, and High Pass modes, plus seamless crossfading between filter outputs.
Integrated Stereo VCA
Built-in stereo VCA with soft clipping, adding warmth and harmonic richness to your sound. From clean amplification to heavy saturation, enhancing tone before it reaches the filter stage.
Dynamic Resonance Modes
MILD keeps the resonance smooth and musical, ideal for classic filtering effects, while WILD pushes the resonance to its limits, delivering intense, aggressive sounds with heavy distortion that brings an extra edge to your signal.
Stereo Span Controls
Dedicated FREQ Span, RES Span, and MODE Span knobs allow you to create a wide, immersive stereo field by adjusting the spread of Frequency, Resonance and Mode across both channels."
"T-SPECTRUM
The long awaited series of modules based on the success of the LS1Lightstrip, it's finally here!
t-spectrum is a spectral processor with onboard distortion that can create gentle percussion like sound or completely destroy your sound. Use at you own risk ;)
CHAPTERS:
00:00 - Quick interface explanation
01:17 - Functionalities demo with White Noise
05:56 - Using the touchstrips
07:55 - Recording automations, the Loop/One-Shot modes and the reset input
11:11 - The Distorted output
11:38 - Sound demos"
T-spectrum takes the concept of merging modulation sources and destinations into a single module.
T-spectrum is a spectral processor, an organic sound sculpting tool transforming drastically what passes through it.
The powerful modulation engine lets you hear frequency bands dance, smoothly or frantically. Bring life to your patches with free running or resettable custom drawn modulations.
Maximum automation recording length of 20s for each parameter.
MODE allows to change between 1/2/4/16 (max) bands
FREQ moves the filter initial frequency
SPREAD changes the bandpass filters Q peak
TILT moves the selected peaks around the spectrum.
The integrated touch lightstrip controllers can drive four parameters with looping or one-shot recording playback mode on each track with global RESET input.
Secondary distorted output.
Features list : •Spectral processor •Four channels parameters recorder •Up to 20 seconds automation recording time •Looping, One shot and Hold modes for automations •CV input and physical control for parameters •Normal and Distorted outputs •Four modes: 1/2/4/16 bands •Modify resonance peaks and move the bands around the spectrum
•Current draw: 150 mA (+12 V) / 20 mA (-12 V) •Width: 8 HP •Depth: 34 mm
"A kick drum lays down the foundation of your track, the root of your beat. You need the low end to create a pumping motion and the high end to cut through the mix. All this while maintaining spectral room for other sounds. So it can be quite an undertaking to get right.
Which is why we developed Mandrake. A kick drum synthesizer that targets kick drum sounds for Dance, House and Techno music. Inspired by physical models, DAW drum synthesis and sound mixing techniques. It divides the sound into a 'Hit' and 'Body', with sound shaping possibilities for both sections.
Mandrake is not another 808 or 909 clone; its analog circuitry is entirely built from scratch to create an original sound. Also nothing more than a great kick; ranges to get into detail, and useful kick drum sounds throughout its settings!
FEATURES 'Hit' and 'Body' sections to sculpt the most important parts of a kick drum. Hit-timbre and Hit-volume controls to shape sound of the transient. Body saturation, resonance, decay and damping controls provide a varied sound palette. Clear pitch control section that is carefully scaled to match a kick drum. Two VCA shapes that provide different flavours. Ducking or normal Envelope output to further sculpt and modulate. Accent or VCA CV input switch to match your sequencing method. Clean-up switch to remove rumble and decrease 'boxiness'."
"Today we are going to talk about Spectravox and as I might be the only synth person on the internet who didn’t get either their CS-80 for suburban dads or totally AI-free music generating Buchla ripoff, I have to resort to the strange one that seems like a more expensive version of that FX pedal they released 20 years ago.
"I wasn't sure what to expect from the Spectravox. I never thought it would turn out to be one of the meanest drone synths I've ever encountered. It's one oscillator but somehow the resonance compensation plus the spectral shift can just sound ferocious.
This is basically the Spectravox running through the Rossum Morbius filter into Qu-Bit Nautilus with reverb via the Strymon Starlab.
I feel like I'm a little at odds with some of these uploads. Some people really seem to like the drone content, others not so much. It's definitely darker than a lot of the gentler ambient stuff that gets posted. But I've decided to just post what I've working on hoping there are people who'll find it interesting.
"In this video we explore how to use Spectravox as a standalone synthesizer voice.
We begin by configuring Spectravox for keyboard control – patching the Keyboard CV output of Grandmother to the 1V/OCT input on Spectravox and the Keyboard Gate output of Grandmother to the Trigger input on Spectravox. Playing Spectravox this way gives us a unique analog synthesizer voice where the ten filters and Spectral Shift controls allow us to sculpt the sound of Spectravox’s Voltage Controlled Oscillator. We look at using these controls alongside the LFO for both traditional lowpass and hipass filtering as well as unique notch filtering, comb filtering, and phasing effects. Lastly, we look at using the LFO and the VCA input to create tremolo effects."
Spectravox | Filter Pings and Analog Physical Modeling
In this video we explore how to ping the filters of Spectravox to turn it into an analog physical modeling instrument and create percussive wooden sounds like marimbas or xylophones.
By replacing the carrier input to Spectravox’s filter bank with a gate or envelope instead of audio and turning the resonance of the filter up, we can ping all ten filters and mix their levels for creating struck percussion sounds. In this video we first turn the VCA mode ON and then patch the Gate output of Grandmother to the Trigger input of Spectravox to use Grandmother to trigger Spectravox’s envelope generator. Patching the EG output to the Program input gives us level control of the envelope, and finally patching the Program output to the Carrier input inserts our decay-only envelope directly into the audio input of the filter bank. Later, we connect the Keyboard CV output of Grandmother to the Shift CV input on Spectravox to move all ten filters for melodic control of the filter bank.
2. Spectravox | Recreating Moogerfooger Effects for Guitar
In this video we explore how to use Spectravox to process guitar and look at recreating some of the Moogerfooger effects pedals with it.
We begin by using the Program section and its preamplifier to bring a guitar signal up to Eurorack levels for processing, and then connect the Program section output to the filter bank’s Carrier input. Here is how to recreate or simulate some of the Moogerfoogers:
MF-103 Phaser – use the filter bank as a comb filter and modulate it with the LFO for resonant phaser tones. MF-101 Lowpass Filter – use only filter 1 (lowpass filter) and the Program Envelope Follower to get enveloped filtering. Switch to one of the bandpass filters for auto-wah effects. MF-102 Ring Modulator – modulate the VCA CV with the LFO for tremolo effects and push the LFO to audio-rate for ring modulator-esque amplitude modulation. Explore amplitude modulation of each filter band respectively via their CV inputs MF-105 MuRF – send an external sequence (from DFAM, Grandmother, or any sequencer) to the Shift input for sequenced resonant filter bank movement. Modulate each filter band individually with independent envelopes for even more MuRF-like behavior.
Spectravox is an open-ended signal processor, so use these as starting points and explore the myriad of unclassifiable effects Spectravox is capable of.
3. Spectravox | Emulating a Vintage Drum Machine
Embark on an exploration of Spectravox's capabilities as we delve into the intricate art of crafting vintage drum machine sounds with a contemporary flair. 🎛️💥 Join us in a meticulous fusion of Spectravox and rhythmic sequencers, aimed at resurrecting the beloved beats reminiscent of the 1970s and the nostalgic rhythms of vintage organs.
Unveil the methodology behind sculpting the quintessential drum machine foundation through the mastery of Spectravox's Carrier section. Our comprehensive tutorial will meticulously guide you through the synchronization of rhythmic sequences sourced from esteemed trigger sequencers such as ALM’s Pamela’s New Workout. Witness the transformation of Spectravox's ten bands into a symphony of dynamic kick drums, crisply resonant snares, and timeless wood block accents. Additionally, unlock the intricate craftsmanship involved in crafting hi-hats by toggling the Bands 9 & 10 switch to Hiss mode.
However, our journey merely scratches the surface of Spectravox's boundless potential. Delve into the realm of nuanced control with Spectravox's intuitive panel controls, where each knob adjustment opens doors to a myriad of sonic possibilities. For those craving to push the boundaries of sonic innovation, we offer insights into seamlessly integrating external control voltages, thus offering a gateway to unparalleled rhythmic experiences.
Octaves is our latest collaboration with Berlin-based composer and YouTuber Hainbach. It is a filter plugin designed to take apart the audio spectrum in spreads of octaves, allowing for unique and enchanting spectral sound design effects. Octaves gives you a retro-scientific approach to sound that echoes the timeless productions created in the BBC Radiophonic workshop or the WDR Studio für Elektronische Musik by the Avantgarde masters, and modern places like Willem Twee, Strøm, and Hainbach’s own laboratory.
