"MICROPHONIC: in the early days of electronics, analog devices were made with vacuum tubes and performed everything from logic to output amplification. The first Theremins were made with vacuum tube technology-- it was all that was available. Vacuum tubes were everywhere and in everything. But they had a flaw: they were inconsistent to manufacture, expensive to maintain, took time to warm up, generated heat, and could burn out like a lightbulb. Eventually, the world went solid state. It was cheaper, easy to maintain, and lasted longer.
But something got lost. Inside of tube mechanics were red hot voltages. As it turned out, these voltages were also somehow musical to our ears. Once the world transitioned to solid state, people started to miss the "tube sound" which was simply imperfect in a perfect way.
"DMNO ON is the full-featured 8-voice, 2-part multi-timbral DMNO synthesizer in a compact desktop format. Built around two independent analog-hybrid synth engines, it retains DMNO’s highly flexible signal architecture, with each engine featuring our new Dynamic Multi-Core Stereo VCF. Eight creative Play Modes unlock dynamic interactions between the two timbres at the touch of a single control, while its flexible analog and digital audio connectivity make it a truly expansive and immediate sound design sandbox.
The ON System allows players to add an optional synth control unit to recreate the dual-panel DMNO interface, or choose from a range of expansion modules to extend it further and build their perfect DMNO. Play ON!
Soundtrack by @hazelmillsmusic"
The New UDO DMNO ON! Desktop DMNO - with George Hearn
"@udo_audio has introduced the UDO DMNO ON, a desktop version of its DMNO synthesizer that keeps the full voice count, the hybrid engine and the multi-timbral architecture while doing away with the keyboard. It is not a cut-down instrument: this is a complete 8-voice, 2-part multi-timbral DMNO in a box measuring 487 x 220 x 107mm and weighing 4.5kg, built around the same two independent analog-hybrid synth engines and retaining the flexible signal architecture of the original.
For anyone who liked the sound of DMNO but did not want another keyboard in the room, this could be for you.
DMNO ONE has the same voice architecture as the keyboard."
DMNO ON is the full-featured 8-voice, 2-part multi-timbral DMNO synthesizer in a compact desktop format. Built around two independent analog-hybrid synth engines, it retains DMNO’s highly flexible signal architecture, with each engine featuring our new Dynamic Multi-Core Stereo VCF. Eight creative Play Modes unlock dynamic interactions between the two timbres at the touch of a single control, while its flexible analog and digital audio connectivity make it a truly expansive and immediate sound design sandbox.
"When I posted my first Plexiphon video, I got a few comments like ‘how about Bruxa x Plexiphon’, or better, ‘how about two Bruxae x Plexiphon’. I think I can answer that now. Bruxa is a dominating module. This simply means, whatever you patch up, Bruxa is going to demand all attention. New to modular? Bruxa is a Bruxa is a delay/filter using a crappy karaoke toy chip. Sorry, it’s the ‘lo-fi delay’ that reached a cult status in the legendary Soma Lyra-8 Orga(ni)smic Synthesizer. And then there’s the PoliMaths vs Maths discussion. Maybe they should have called it the PolyFunction, because it’s not Maths. It’s more like a ‘polyphonic function sequencer’, where a function is nothing more than a rise and fall. A slope or envelope depending on the Coast you’re on. It’s an attack/decay shape to sculpt a sound. In this patch, I am using Echophon – the echo – as a clock, using the clock divider output. It’s a cool example of working with limitations. There’s no clock module in this case, but any ‘repeat’ that ticks is a clock. So today it’s not a tape delay, it’s just sending blips to PoliMaths’ activation IN. PoliMaths is like an eight channel sample and hold. When a trigger comes in, the module ‘activates’ by reading all knob positions (sampling) and holding them until the next activation. The channel index will decide which of the eight channels is affected. Depending on the SPAN mode/color, the channel will either be addressable (white), rotating (yellow) or fire all (cyan blue). If you’ve updated your PM, there’s a purple mode too (binary logic). In this patch, the eight envelopes are distributed to various effect modules like Bruxa, more Bruxa and Plexiphon. Depending on knob settings (and especially ABSORB) Bruxa can make percussive sounds with its crappy chip. So what can we do with it? We can make a drum machine that nobody else has. The patch itself is turning my effects units into an improvised lo-fi CMOS drum machine and Plexiphon is adding a bit of reverb. Even on full strength it can’t compete with the two Bruxae. There’s an intermezzo where I’ll patch a long loop between Echophon, Mimeophon, Bruxa 1, Bruxa 2, Plexiphon and QPAS. In plain English, it’s making a long FX chain, but the end of chain is also the beginning. A snake biting its own tail. It’s like taking ugly feedback noise, and then try to sculpt it into something that faintly sounds like music – or a score from an 80’s horror sci-fi B movie with lots of sax and violins. I was expecting something like throwing a mentos in a bottle of Coca Cola, but it didn’t happen. Instead, a nice abstract feedback patch emerged. It turned out to be pretty civilized. In this video I discovered that feedback patching with digital modules is very different from using analog modules. A well designed digital effect doesn’t explode, it stays clear from crashing into digital brick wall and self destruct. In fact, digital feedback patching is more like continuous sound on sound dubbing. If you’re into chaotic feedback patching, you’ll benefit from adding at least one analog module, like a Serge wavefolder, waveshaper, filter or resonant EQ – or any other brand. Just make sure it’s using real analog components and real voltage instead of coded error handlers, limiters, exceptions and guardrails. In the analog domain, chaos is only bound to the rules of Mother Nature. The ‘crappy drum machine’ patch is decorated by a second take with Error Instruments x This Is Not Rocketscience Kharper. I am running it through dual Bruxae and Plexiphon, where the PP gets modulation from Bruxa’s mysteriously labeled CV outputs. They basically contain CV related to Bruxa’s internal chip rumble. Nothing special, but super cool as a mod-source."
Let's start with Decay. This controls how long the toms ring out, from short, tight hits to longer booms.
Punch changes the impact of every hit.
The Tone switch adds different amounts of wavefolding, adding extra harmonics and crunch to the sound.
And if you want to push things further, the Saturation switch gives you three levels of drive at the output.
Pitch lets you tune Tom across a wide range, and a quick press of the Pitch encoder also mutes the voice.
You can bring other sounds into the audio inputs as well, and mix them directly with Tom's output.
Tom is just one way to build a percussion section with Legio. You'll also find Snare, Kick, Klang, Tymp, Bos, Cymbal, Marimba, and plenty of other voices and effects to swap for free with a USB connection.
23 Firmwares.One Legio.
Visit noiseengineering.us or your favorite retailer to get a Legio module in your case."
"Sigma from Vostok Instruments takes clocks, triggers, gates, even audio (good destructive fun) and turns them into gates you can control and modulate the length of. Sounds simple, but the ability to control gate length, add NOT outputs as gate delays and the logic section which takes Sigma to a whopping 23 outputs is fantastic!"
"Sigma is a multi-channel gate processor with a strong focus on rhythm and time-event manipulation.
The module generates up to 23 simultaneous gate signals directly related to the four gate inputs, allowing you to fire an entire array of synced events in your patch by just moving pots and connecting cables.
The core of the module is composed of four identical CV-controlled gate-length processors that create exact copies of your gate signals with adjustable length.
The Logic section creates new events from each length-processed pair using analog Boolean circuits.
Pair Sigma with a trigger sequencer or clock generator, and a bunch of drum modules or voices to get a vast amount of new rhythmical patterns on the fly.
- Four CV-controlled Gate Length Processors.
- Fully adjustable Length from 1ms to infinite.
- Dedicated NOT Output per channel.
- Dedicated Logic section adding 15 extra gate outputs with AND, NAND, OR, NOR and XOR operations for each pair of channels.
- Hybrid design combining a digital length processor with fully analog logic circuits to ensure minimal latency."
"This is the second video showing about the coming software synthesizer from Unusable Engineering.
This time it is both preset making and showing off presets.
0:00 - 9:40 Patch Making and Workflow (talk and action)
9:40 - 19:58 Presets Playing
This video is going through the basic workflow in Currents & Nostalgia - using its two oscillators, the filter and the slot sequencers.
The idea is to give you a feel for how it is to work with the synth and how it sounds.
After making a new preset, which in no way was prepared, I play through quite a few of the other presets with a touch of reverb on the output. I use Geometry Reverb (which is free with any paid purchase from unusable.net). In the patch making section I also use a few other effects from Unusable Engineering on the very end. Ensemble Diffuser which is an analog style modulation plugin, Geometry Delay which is a multi-tap delay and Cavitation Fractures, which is a fluid simulator reacting to sound and affecting sound. (They are all available already).
"Hi everyone, this is the Levitate Expansion synth from Synamodec. The Synamodec Levitate Expansion is a massively upgraded version of the original standalone desktop synthesizer. While the standard Levitate primarily consisted of just three simplified blocks (Legus, Neura, and the Nxpctd delay), the Expansion turns the machine into a deep semi-modular instrument by adding the following new modules, expanded sections, and dedicated processing blocks: [1, 2, 3, 4, 5]
1. New Sound & Modulation Modules • "Crazy" Module: An entirely new, dedicated noise/sound generator designed for extra sonic chaos, which includes its own LFO and EQ controls. [1, 2] • 6 LFOs (Low-Frequency Oscillators): The standard edition had highly limited internal modulation. The expansion adds 6 independent LFOs distributed across the modules (e.g., inside Legus, Crazy, the VCFs, and the Phaser/Delay) to dynamically modulate parameters. [1, 2, 3] • VCA & Dedicated Envelope Generator: A full Voltage Controlled Amplifier accompanied by a dedicated ADSR/Envelope generator and a Gate/Trigger output for syncing with external hardware. [1]
2. New Audio Processing & Effects Blocks • Dual VCF (Voltage Controlled Filters): Two filters designed exclusively for this edition with individual level controls for external inputs, high-pass (HP) and band-pass (BP) outputs. • Phaser / Delay: Replaces the basic delay block with an advanced Phaser/Delay unit capable of extensive CV modulation. • Dedicated Fuzz & Distortion: Two distinct, independent analog overdrive circuits allowing you to grit up your signals separately. • 6-Band EQ / Filter: A fixed frequency equalizer section to shape the tone of your mix. • Master Mixer: A comprehensive mixing stage featuring physical levels and a lever to blend pure audio signals with heavily processed ones. [1, 2, 3]
3. Expanded Features on Existing Blocks • Legus Expanded: Upgraded with an extra exterior output, an external audio input, and 2 integrated CV inputs. • Neura Expanded: Boosted into a Triple Oscillator setup featuring an increased count of signal generators and a dedicated external output. [1, 2]
4. Eurorack Patch Points Unlike the standalone standard unit, the Expansion adds a vast matrix of external CV inputs and outputs. This allows every module to cross-patch internally or interact seamlessly with external Eurorack gear.
If you're interested, send me a message and we can chat. It’s on sale throughout October. miguel@synamodec.com"
This time, I'm introducing the Teenage Engineering KO II Sidekick EP-136 , a small but surprisingly powerful little mixer, and a very welcome addition to the setup.
And this one is a little different from my last jams: there's no external sequencers like the Squarp Hapax or Arturia Keystep Pro involved! 😄
Instead, I'm using the built-in sequencers of all 3 instruments in the setup: the MFB Tanzbär , Roland S-1 and *Roland J-6*. It's actually quite refreshing to let the instruments take care of their own sequences for once.
The Tanzbär is on Channel 1 , bringing its punchy analog drums to the party. Channel 2 is shared by the Roland S-1 and *Roland J-6*: the J-6 handles the bass and chords, while the S-1 also provides the lead chimes during the intro.
The problem? The Sidekick only has *2 stereo channels*.
Let's start with Decay. This shapes the length of your kick, from tight little hits to long, booming tails.
Impact controls the punch of the voice, letting you add more weight and aggression to every hit.
The Tone switch gives you three different flavors of the kick, including clean, crunchy, and wavefolded options.
And if you want even more dirt, the Saturation switch adds three levels of drive to the output.
Pitch gives you another way to completely change the character of the voice. And a quick press of the Pitch encoder mutes the voice.
The inputs give you a way to duck an incoming signal with the kick, making it easy to carve out some space every time it hits.
Kick is just one of several percussion voices available for Legio. You'll also find Snare, Tom, Klang, Cymbal, Bos, Marimba, and Tymp, plus a whole collection of synth voices and effects to swap in with a USB connection.
23 Firmwares.One Legio.
Visit noiseengineering.us or your favorite retailer to get a Legio module in your case."
If you like these sounds, you can buy the complete 03R/W SysEx bank from me with all 80 presets for 10 Euros (contact me at: vukansto at gmail dot com).
So, this is an old KORG ROMpler from 1991, a cut-down version of the flagship 01R/W. The 03R/W has less sample ROM (5 MB vs. 6 MB on the 01R/W) and lacks the Waveshaping and Emphasis features. Korg named this digital synthesis engine AI2, which stands for Advanced Integrated Synthesis (second generation). The first AI generation was featured in the M1 and T series.
Actually, I planned to sell this 03R/W, but now I'm not so sure. It reminds me of some mystic, dark sounds I created on the T2ex that I sold a decade ago. Now, I have those similar sounds in a compact 1U rack unit.
Recorded directly form 03r/W audio output to Tascam DR05x recorder (24bit / 48 khz)
Korg 03R/W specifications:
32 polyphonic (16 poly in dual Osc mode presets)
8 parts multitimbral (16 parts in General MIDI mode)
255 multi samples (5mb ROM of 16bit samples)
Single or dual oscilator structure per program/preset
Digital low-pass filter (VDF) per oscillator
2x digital effects processor (reverb, delay, chorus, distortion, etc.)
229 programs-presets (100 RAM + 129 ROM GM) and 100 multi combinations
PCM and RAM data cards expansions
4 analog audio outputs"
"Experimental electronica created with the Prophet-10, Moog One, Nord Lead, MS-20, OP-1 field, and Ambient Engine.
This is the 1000th entry in the Daily Sound Experiment series.
On the Prophet-10, synth pads are performed with reverb through the blueSky.
The MS-20 plays a bassline via MIDI sent from Ableton Live. During the intro, the filter resonance is adjusted in real time.
The Nord Lead and Moog One are performed by hand during the middle of the track.
The OP-1 field plays a rhythm pattern via MIDI from Ableton Live. Modulation is applied with the CWO effect, while the MOTHER effect adds gated reverb. The output is then processed through the MOOD MKII with additional pitch shifting and delay.
In Ambient Engine, sine wave samples are loaded and played as sustained tones while the MicroLoop effect is applied.
On this channel I explore many styles of music using field recordings, DIY instruments, and hardware.
Catch up on previous Daily Sound Experiment entries here:"
Fun video featuring the Yamaha YM2151 + Yamaha YMZ280B voice chips. Interstingly, you'll find previous posts mentioning the YM2151, but not the YMZ280B. This simply implies the YM2151 is more comonly used in DIY projects.
"The Yamaha YM2151, also known as OPM (FM Operator Type-M), is an 8-channel, 4-operator sound chip used for frequency modulation (FM) synthesis in 1980s arcade games, home computers, and synthesizers."
Key Features
Voices:
Plays up to 8 simultaneous sounds or channels.
Data Formats: Supports 4-bit ADPCM, 8-bit PCM, and 16-bit PCM waveform data.
Memory: Connects to up to 16 MB of external ROM or SRAM for storing sound data.
Output: Delivers stereo output with 4-bit/16-level panning for each individual voice.P
rocessors: Links with an external digital-to-analog converter (DAC) and can connect to a Yamaha YSS225 effects processor for extra channel processing."
"The Yamaha YMZ280B, also called PCMD8, is an 8-channel PCM and ADPCM sample-based sound chip made by Yamaha Corporation in the mid-to-late 1990s.
Key FeaturesChannels and Operators:
It supports 8 simultaneous channels of 8-note polyphony with 4 operators per channel.
Sound Generation: It includes built-in noise generators, LFOs for vibrato and amplitude modulation, and timer circuits.
Companion IC: It requires an external digital-to-analog converter (typically the Yamaha YM3012) to output stereo audio.
Common Uses
Arcade Machines: Atari's Marble Madness (1984) was the first arcade game to use the YM2151 for FM synthesis, leading to widespread adoption in arcade hardware.
Home Computers: It powered the sound boards in sharp computers like the Sharp X68000 and the Yamaha CX5M music computer.
Synthesizers: Yamaha utilized the chip in early budget keyboards and sound modules like the DX21, DX27, and DX100."
video upload by temaniak - click CC for subtitles once the video begins.
Low Frequency Generator
Advanced LFO with five standard waves (triangle, sine, inverted sawtooth, sawtooth, square) and two modified waves based on triangle and sine the morphing of which can be controlled by CV.
Frequency range: 0,1Hz-100Hz (X1 range mode) / 0,01Hz-10Hz (X0,1 range mode) Output signal amplitude depending upon the position of the BIAS control: BIAS= 0: -5v/+5v BIAS=-5: -10v/0v BIAS=+5: 0v/+10v CV inputs responds: -10v/+10v EOC (End Of Circle) signal level: +5v / 1ms Trig and Reset inputs threshold: 4v
Controls and sockets: RATE Pot - Waves Frequency BIAS Pot - Polarity offset from zero TURN Pot - Morphing of two modified waves Waves outputs 3,5mm jack sockets: triangle, sine, inverted sawtooth, sawtooth, square and 2 modified waves EOC socket: End Of Circle impulse Input 3,5mm jack sockets: Trig - resets the wave and holds the reset when the gate is on Reset - resets the wave and immediately resumes. Сan work as Sync input
video upload by temaniak - click CC for subtitles once the video begins.
0:24 Интро - Intro
1:12 Контроль - Controls
3:27 Волны - Waves
5:40 VCA и морфинг - VCA and Morphing
11:55 Сабосциллятор и Гармоники - Sub-oscillator and Harmonics
14:53 FM
22:13 Патч A (YAY) - Patch A (YAY)
23:58 Патч B (Sync) - Patch B (Sync)
25:56 Патч C (Selfpatching) - Patch C (Self-patching)
31:16 Комплексный патч А (Drone) - Complex Patch A (Drone)
34:58 Комплексный патч B (Мелодичный) - Complex Patch B (Melodic)
40:01 Аутро - Outro
Tri-core VCO with wave morph, TZ FM and buit in VCA's
Twang Modular Wave Generator is a fully analog triangle core VCO with great set of features:
– wave output with contintious morph between sine, triangle, upsaw and pulse waves. – voltage controlled morph with bipolar attenuator. – wave output has built in VCA, alowing to control the level and amplitude modulation. – Roland SH-101 style square sub oscillator. – even and odd harmonics outputs. – FM in with amount control VCA and switch between exponential and through-zero. – pulse width modulation which also change the phase of upsaw wave. – sync input.
"Outbox 8 adds eight outputs for configurable audio and CV, meaning you can turn your compatible Elektron machine into an octopus of connectivity. Add external effects. Separate your tracks out to a mixer or wherever. Control and sequence your modular gear or any other CV-equipped devices. And though Outbox 8 is predominantly made with your Elektron units in mind, it can do the same with a bunch more class-compliant gear too. Break out your sound and control, whatever the moment calls for."
Outbox 8 is a versatile eight-channel audio/CV breakout box and USB host/device designed to expand your connectivity, with creative possibilities to boot. It adds eight fully configurable physical outputs to a compatible connected device, letting you send audio and CV in any combination its capabilities allow. Route your sound and control wherever the moment calls for.
Send audio
Outbox 8 enables you to route individual tracks for external processing, mixing, or performance – creating a flexible bridge between your Elektron workflow and the wider world of sound and control.
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."
"Here we have the utterly feature packed MELT from u-he. It's a Eurorack analogue filter with more mixing and VCAs on board than I've seen before, managing to be simple to use while encouraging more advanced behaviours. Nice!!"
"This is the first proper track I've made with the Supercritical Redshift 6, and I wanted to take it apart properly. The chord stab you hear at the start is three notes coming out of a single analog voice, which is the thing I still find hard to believe.
The Redshift is multitimbral, so I used it as three instruments at once: a pad chord stab, an arp, and a three layer lead. Each one goes out of its own stereo output. The two aux outs are always dry, meaning they skip the internal FX section entirely, so the arp runs into a Chroma Console and the pad into a Microcosm. The lead keeps the synth's own delay.
Everything else melodic is sampled from the Redshift into the Digitakt II, which is also doing all the sequencing. Around 16 layers in total, so apart from the drums this is one synth.
I also skipped Overbridge this time and recorded four stems straight into a Zoom LiveTrak, which meant committing to the mix as I went. That's why the bass is split across two tracks.
Chapters:
0:00 Intro
0:25 The chords - one voice, three notes
3:52 The arp - and what the Chroma Console does to it
4:46 Chrome Console overview
7:36 The lead - supersaw, macros, and four voices
10:57 I almost gave up on this track
12:41 Some of the Digitakt II layers
15:57 Digitakt trick: a trance click on a 909 kick"
