"The ADDAC320 Servo Control by ADDAC System, a module that converts incoming CV into physical movement, allowing you to automate any knob that doesn’t have a CV input by mechanically turning it!"
0:00 Intro
0:22 How to set it up
1:30 Minimum and Maximum angle
1:48 Patch example
"At ADDAC we always admired the geniality of Neil Young’s Whizzer, way ahead of it’s time, a great example how great ingenuity and engineering can come together to make something great. Inspired by it’s motor controlled method we created a 4HP solution to control any knob that doesn’t have a CV input, while also possible to use for other gear as well (within certain distance constraints).
We use a Servo motor which is a specific type of motor that can be digitally controlled to go to a precise angle. This motor is controlled by a microcontroller that also receives an incoming CV voltage from 0 to +5v and lineary converts this voltage range to the 270 degree Servo motor range.
Using a spring wire and metal couplers the motor shaft is then attached to the target knob to be controlled which will turn as the Servo turns.
Two other knobs [MAXIMUM ANGLE] & [MINIMUM ANGLE] further allow to control the “sweet spot” of the target knob, setting a smaller Servo range.
Raising the [MIN ANGLE] knob above the [MAX ANGLE] knob inverts the Servo range.
We can't stress enough how important it is to read the whole User's Guide thoroughly for this one!"
"Mixology by ADDAC System is a dual effect chain router and feedbacker that unlocks a wide array of mixing possibilities and llows multiple configurations to be achieved while keeping it very compact in a 10Hp module!"
"This module is a dual effect chain router and feedbacker, one can look at it like a 3x3 matrix mixer, pre patched in a way that allows multiple configurations to be achieved while keeping it very compact in a 10Hp module."
"We recently traded an ARP 1623 for a freshly serviced 1613 and this video was a first test. ARP 1613 Quantized output A controls one Roland 110 VCO and quantized output B controls another. Gate Bus 1 controls a 140 envelope, which controls both 110 VCAs. The ARP 1613 also modulates the 110 VCFs, as do two LFOs. Anyways, I like the look of the ARP 1623 much better, but the Roland System 100m won the post-Pandemic format wars here and the 1613 looks most excellent with the 100m. Plus the big wooden end cheeks on the 1613 allow you to position the 1613 vertically (if you’re careful). Last year we got a great deal on a 182 sequencer for the 100m, with another 191j and another 150, so now we have six 191j cabinets (actually, one is by e-licktronic). They’ve been stacked in two sets of three and are topped with two ARP 1613 sequencers. It’s pretty luxurious. Or, as YLF says, Imperial.
We also moved the Blueberry 5200 (two clones of the ARP 2600 Blue Marvin by Behringer) and two DeltaLab Effectron II BBD delays next to the System 100m and 1613s, creating another angle in the octagon. A Mazzatron Eurorack patch bay interfaces the Effectron II delays and connects the wing to the Addac x911 bays."
"At ADDAC we always admired the geniality of Neil Young’s Whizzer, way ahead of its time, a great example of how great ingenuity and engineering can come together to make something great.
Inspired by its motor controlled method we created a standalone solution featuring 8 Servo outputs to control any knob on any amplifier, guitar pedal, rack gear, etc. Bottom line any hardware that has a knob that needs to be controlled/sequenced/automated externally.
The idea behind it was to create a device that would open the possibility to control any knob, any physical knob, be it from a musical device or any other tech appliance that “needs” to be controlled, for musical, artistic or automation purposes.
Our solution comes with a Servo Connector that screws into any compatible physical potentiometer, a coupler connects the motor shaft to the target knob which will turn as the Servo turns.
We use servo motors which can be digitally controlled and move to a precise angle. The motors are controlled by a microcontroller that receives MIDI signals or the internal Expression Pedals and converts these signals to the 270 degree Servo motor range.
Each expression pedal input features 2 knobs: MINimum and MAXimum. These are used to set the range of action of the expression pedal, allowing to dial the range to any sweet spot desired. Raising the MINimum knob above the MAXimum knob inverts the Servo range.
It features MIDI over USB-C, Bluetooth MIDI, and a 3.5mm MIDI IN jack. MIDI can come from any of the 3 sources at the same time as long as they don’t overlap the servos channels being controlled."
"At ADDAC we’re always interested in simple effective solutions for sonic expression, as a by product of a new product development we came up with a simple solution for pedal users.
A special large knob that can replace any pedal knob and allows easy feet control.
This knob is tall enough so that it towers above the remaining pedal knobs, fitting in very tight spaces.
At the same time creates enough clearance so that it’s accessible without obstruction and easier to find with your toe.
The side grooves create friction against the shoe.
"At ADDAC we’re always interested in simple effective solutions for sonic expression, as a by product of a new product development we came up with a simple solution for pedal users.
A special large knob that can replace any pedal knob and allows easy feet control.
This knob is tall enough so that it towers above the remaining pedal knobs, fitting in very tight spaces.
At the same time creates enough clearance so that it’s accessible without obstruction and easier to find with your toe.
The side grooves create friction against the shoe.
"The ADDAC816 Percussion VCA by ADDAC System is a voltage controlled amplifier featuring an integrated AD envelope with a fast attack and adjustable decay, perfect for creating precise and dynamic percussive sounds!"
0:00 Intro
0:24 Envelope gain
1:08 Decay knob and time switch
2:05 Envelope input behavior
2:33 VCA input
2:46 Patch 1
4:02 Patch 2
5:05 Patch 3
"While deep in its soul there’s a standard VCA with exponential response that can be used as such, in its heart pulses an AD envelope with a sharp attack and a variable decay internally connected to the VCA control input. When it opens its mouth it can whisper in your ear but don’t let this soft demeanor fool you, if driven to the extreme it will show its teeth and gnarly bite and chew on your cochleas with all its might.
The AD envelope has a fixed short Attack, just enough to avoid the typical “click” that happens when using a Gate signal to control a VCA, while the envelope Decay can be controlled via its knob or voltage controlled using the CV input and attenuverter.
We named it Percussion VCA as most percussion intruments have sharp attacks with variable decays just as its AD Envelope however it can be used for any purpose where a VCA is needed including for CV signals due to it’s DC coupled signal path.
Furthermore it also allows to be driven from a simple Gate signal while controlling its decay. This way it’s easy to plug a noise source, vco or any audio and turn that source into a percussive element."
"This is ADDAC607 by ADDAC System, a mono 3 band Crossover featuring 4 pole, 12db Sallen-Key active filters and volume controls for each band!"
0:00 Intro
0:17 Inputs
0:32 Mono sum out and gain controls
1:02 Low range band
1:22 High range band
1:48 Mid range band
2:40 Equalization
3:38 Pairing it with an envelope follower
"Commonly audio Crossovers split an audio signal into several frequency ranges so that each resulting signal is adequate for the speaker drivers they are connected to, usually low range is sent to the big woofers, mid range to smaller woofers and high range to the tweeters.
Here we introduce our ADDAC607,a mono 3 band Crossover featuring 4 pole, 12db Sallen-Key active filters and volume controls for each band. Although ADDAC607 operates in Mono (for Stereo signals two modules can be used) there are 2 audio inputs that allow an easy way for Stereo to Mono summing. The [MONO SUM OUT] carries this summed signal. This output is pre-gain and can also be use as a buffered Thru output.
The possibility to split the signal into different bands makes possible several usefull processes, as examples: - Independently process specific frequency ranges like adding delay only on the high range band - Split a signal to feed 3 compressors for multiple band compression - By controlling the [GAIN] knobs they can act as “kill” switches in DJ mixers to remove a whole band from the mix
This module is also a great companion for our ADDAC220 Dual Envelope Follower+ allowing to extract the dynamics from any signal in a focused frequency range allowing to, as an example, separate a kick drum from a snare.
There are three switches to select the bands operating ranges: 2KHz, 4KHz and 8KHz for the high range 370Hz, 620Hz and 1KHz for the low range
The three [GAIN] controls set the volume for each band. At noon they are unity gain, fully CW they are x2 amplifiers."
"What do rising sea-levels sound like? How might we listen to the temperature of the oceans? What rhythms can we hear in the increased frequency of intense hurricanes/cylones? Can we imagine mounting CO2 emissions as a crescendo of dissonance?
This piece uses a data sonification module (Loud Numbers) to translate spreadsheets of climate-change data into MIDI cc values. An interface (CV.OCD) then converts the MIDI to voltages to control my modular system. ADDAC’s Swell Physics’ CV inputs for swell size, agitation, offset, etc. are ideal for modelling the complex, unpredictable effect of rising sea levels, sea temperatures, and storm intensity, on ocean waves. Meanwhile, Disting EX’s 'spectral freeze' algorithm is processing ocean-related songs.
Despite the fixed data on the spreadsheets, this patch generates different sonic results each time it is played – thanks to the chaotic behavior of Swell Physics. I am planning a longer, ~30 minutes version for a public performance, with video visualization/projection of the data.
Category 3+ storms: Tropical Meteorology Project, Department of Atmospheric Science, Colorado State University (calculated from National Hurricane Center, the Central Pacific Hurricane Center and the Joint Typhoon Warning Center), https://tropical.atmos.colostate.edu/...
Global Average Absolute Sea Level Change, 1880-2023: United States Environmental Protection Agency (data soures: CSIRO, NOAA), https://www.epa.gov/climate-indicator...
"The ADDAC220 is an analog/digital hybrid stereo/dual envelope follower designed for better dynamic range analysis!"
0:00 Intro 0:16 Audio gain 0:28 Clip LEDs 0:36 Attack and decay 0:49 Log Exp control and envelope gain 1:00 Offset 1:08 Gate out and threshold control 1:21 CV, inverted CV and average outputs 1:35 Stereo / Dual mono switch 1:47 Dynamic range 2:03 Off, dynamic and romalized mode 2:45 Auto-wah 3:53 CV and inverted CV outs together 4:30 Effect processing 5:27 Beat detection 6:24 Gate behaviour
"This is our new Stereo Envelope Follower, an analog/digital hybrid for better dynamic range analysis. The incoming audio signal gain can be set with the [GAIN] control, the signal is then fully rectified and passed through an analog envelope follower with a fixed short attack and decay.
This analog signal is then sent into a 12bit ADC (analog to digital converter) of an MCU (microcontroller unit) from here on the signal is processed digitally. Whenever the ADC detects clipping the [CLIP] led will turn On.
The digitized signal is then passed through a Savitsky-Golay filter for noise reduction smoothing the incoming signal. Next the signal is slewed using the [ATTACK] and [DECAY] controls. The MCU keeps a history of the last sampling points and detects the minimum and maximum values of the signal which reflect the current dynamic range and maps the signal minimum and maximum amplitude to 0V and the maximum voltage detected. Avoiding the discharge of the analog envelope capacitor.
This new mapped signal is then processed via the [RESPONSE CURVE] control balacing the response like one would with a standard AD envelope with LOG/EXP control. The [ENV. GAIN] attenuverter control goes up to x2 amplification and sets the attenuation / amplification factor of the output range, the red led monitors this level. The led uses pwm control for faster response and better visualization of the output signal across the full output range.
Finally the [OFFSET] allows to displace the signal’s voltage up or down.
The [THRESHOLD] control sets the level to compare to the output signal and turns the [GATE] output On when the signal is above the threshold. The [GATE LED] show the output state. The [CV OUT] carries the Envelope signal (0 to +10V) while the [INV. CV] Output carries an inversion of the signal (-10V to 0v). The [AVG. OUT] outputs the average of both Left and Right CVs (0 to +10V) while the [INV. AVG.] outputs the inverted average signal (-10V to 0v). The [STEREO / DUAL MONO] switch allows to use the left channel controls to operate the right channel for stereo operation or keep them independent in dual mono. In Stereo mode only the Right channel gain will be independent.
"Addac sent me over their latest module: the Stochastic Voltage Generator. It inspired me to delve into the eccentric history of stochastic (or aleatory or chance) music, from Mozart to Marcel Duchamp, John Cage, Morton Feldman, and Iannis Xenakis -- and from Buchla, Moog, and Arp to Eurorack.
The accompanying patch is inspired by Feldman's graphic scores (especially the early "Projections" scores). David Cline's detailed book, The Graph Music of Morton Feldman (Cambridge University Press, 2016), was crucial to understanding Feldman's scores and his complicated relationship to indeterminacy."
Controlled chaos : ADDAC 511 - Stochastic Voltage Generator
"This is ADDAC511 by ADDAC System, a fully fledged 4 channel voltage generator capable of all things random, with quantization, probability, distribution, interpolation, time control, clock, states and a 32 step sequencer!"
0:00 Intro 0:26 Overview 1:10 Main screen and buttons 1:36 Channel selection, holds and mutes 2:40 States and their secondary functions 4:51 Voltage screen 6:50 Probability screen 7:38 Quantization screen 9:19 Voltage distribution screen 10:32 Gate out screen 11:52 Smooth screen 13:50 Lock screen 16:26 Time screen 17:24 Time divisions screen 18:15 Clock screen 20:08 CV and logic screen 21:28 Presets screen 21:50 Menu screen 22:40 Patch 1 24:25 Patch 2 25:57 Patch 3
Check with dealers on the right for availability.
"At ADDAC System we love all sources of unpredictability be it by randomness or signal complexity. This module greatly expands on the principles of our ADDAC501 Complex Random from 2013.
This is a fully fledged 4 channel voltage generator capable of all things random, with quantization, probability, distribution, interpolation, time control, clock, states and a 32 step sequencer.
The module panel features a screen for parameter editing, and each button offers access to a single page of changeable parameters. This allows for a fast and fluid workflow across all settings so users can focus on their music. The combination of two encoders along with push buttons allow swift navigation and editing across all pages and their respective settings.
FEATURES
4 independent channels with bipolar CV / Gate outputs and Clock Input that allow all things random.
Each channel can be set to generate either continuous Voltages, Envelopes or as a Quantizer.
Controls over Voltage Range, Quantization with custom scales, Probability, Distribution curves and Smoothing, plus time and bpm ranges, time distribution curves and several clock sources.
A 32 step sequencer per channel that can work completely independent or in sync.
Mutes and Holds per channel.
3 States per channel allow very fast settings changes, from smooth to drastic transitions.
8 Assignable CV inputs and 4 Gate inputs can be internally mapped to any setting of any channel.
3 configurable Logic / clock outputs allows complex logic events comparing different ins & outs or as clock outputs.
Average CV output of all 4 CV outputs. Easy VCO tuning available in the Menu.
Calibration and mapping of all 4 CV outputs is also allowed through the Menu"
"I don't often publish pure jams like this, but I've been asked quite a few times bout that so I decided to set all things up and do an ambient work.
this jam features :
Bastl Pizza
Bastl Waver
Bastl Neo Trinity
Doepfer A-124-2 Filter
Doepfer A-140 2
Michigan Synth Work Monsoon
QU-Bit Data Bender
ALM Cizzle
ALM MFX
XAOC Zagrzeb
An yet to be released module from an european maker
ADDAC SYSTEM Case"
"Exploring the new-ish module from Addac: Swell Physics. A brief explanation of the module, followed by two patches. Both rely heavily on stereo, so headphones recommended.
1:41 Ocean Bloom
5:09 White Squall
Addac sent me this module, but had no say over the content of this video.
Source for info on Gerstner: J. B. Zirker, The Science of Ocean Waves: Ripples, Tsunamis, and Stormy Seas (Johns Hopkins University Press, 2013) – very accessible, highly recommended!"
"This is ADDAC310 by ADDAC System, a creative and fun approach to modulation which lets you use your breath to interact with your modular synth!"
0:00 Intro
0:13 Melodica pipe and sensor
0:35 The demo starts
0:45 Attack and decay
1:03 Gain
1:21 Offset
1:45 Response
2:08 Hold
2:32 Inverted CV outputs
3:09 Gate outputs and threshold
3:22 Gate output follow modes
3:42 Gate output hold modes
4:03 Patch example"
"This module expands our line of expressive controls, it follows the heritage of wind/breath controllers with one major diference: the pipe has no air escape creating pressure inside the tube controlled by the user’s mouth. For a seasoned woodwind or brass musician this working principle may sound unorthodox, however this way pressure can be controlled for longer without the need to breath in or learning circular breathing techniques. It’s relatively easy to control the pressure in your mouth while still breathing through the nose.
The module is provided with a standard melodica pipe which connects to an air filter (providing a receptacle for condensation to form and isolate the sensor) and lastly connects to the module frontpanel.
The signal captured by the sensor is then sent to two independent sections with exactly the same functions as seen in the signal flow diagram below.
As an example the two sections can be used with diferent settings to independently control the VCA and VCF of any standard analog voice patch.
PIPE
We’re using a standard Melodica pipe into an air filter that will keep condensation away from the sensor. The air filter is then connected to the frontpanel sensor input using a silicone tube.
SENSOR CALIBRATION
[RESPONSE] is the main control to calibrate the pressure curve, the knob goes from exponential to logarithmic with linear at 12 o’clock. Exponential will be more reactive to high pressures, logarithmic to lower pressures.
HOLD FUNCTION
This feature allows to hold the current voltage value with the hold is engaged (button led on), the state can be changed either by the push button in a latching manner (push to change state) or via the gate input in a momentary manner (hold on while gate is on)
