4/16/26 (Oofos) Roland & RYK System 100m + Peavey 1300 + CXM 1978 + Alesis MIDIVERB II

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"Resistance starch
Shin splints"

4/9/26 Metasonix RK7 RK2 RK8 + Beers Melakarta & DAC + ALM Pamela’s New Workout + Alesis MIDIVERB II

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This is the first post to feature the Beers Melakarta.

"Feeding the Beers DAC and Beers Melakarta several triggers from ALM Pamela’s New Workout, and then modulating the pitches of the two Metasonix RK7 VCOs and the CV on the Metasonix RK8 Filterwall. Gated reverb from the Alesis MIDIVERB II."

"The idea for this module came from my friend Rodrigo Kendrick. He was a bit burned out on western tonal structures, and had recently missed out on an electronic lehra machine in a facebook marketplace deal which fell through. These machines are a kind of practice tool for carnatic musicians that plays a wide variety of different raga. Think that 'casio auto-chord' function on old casio keyboards, but for carnatic music.

Unwilling to wait for another one to come up on the used market, he did some cursory research, and sent me an early-morning design document, expanding the functionality of DAC with a scheme of two rotary switches and one toggle switch to select the pitch sets for all 72 Melakarta ragas and specified a clock input that would run up and down the selected raga in ascending then descending order, with the ability to turn around or reset on command. In theory this would allow the complex rhythmic and sequence rules of the raga to be implemented with external logic and sequencers, but still give the module enough sequencing functionality to explore the pitch sets of these raga on it's own.

I got excited and went a bit silly 'helping' until we had shoehorned in a pile of other features like binary addressability of the selected swara (interval), gate outputs for each swara, an 'inhibit' input that mutes the transposition voltage while the clock continues in the background, CV controlled halving of the clock frequency, extra +1oct input, and the logic-inverting toggle switches from the DAC on several inputs.

This design is all analogue using discrete MOSFETs and 0.1% tolerance resistors in a weighted DAC driven by a 4000-series CMOS based sequencer.

Yes, it might have been simpler to use a microcontroller."

4/3/26 ElectroComp EML 200 + Peavey DDL-3 + CXM 1978

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4/2/26 Buchla 243v 258d 281 292r 244 + TTMC 5 step seq + CXM 1978

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"Transposing a sequence on the Tokyo Tape Music Center 5 step sequencer using its own clock divider and the Verbos & Associates 243v pulse generator. Delay from the Peavey DDL-3 and reverb from the CXM 1978."

3/30/26 (Facai’s Rimowa) Technosaurus Cyclodon & Microcon + Peavey DDL-3 + Mackie Mix12FX

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3/29/26 (fu jian straps) Technosaurus Cyclodon & Microcon + Peavey DDL-3 + Mackie Mix12FX

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3/29/26 (ha mi gua shazhao) Technosaurus Cyclodon & Microcon + Peavey DDL-3 + Mackie Mix12FX

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"Two build ups from 4 to 16 steps, with delay from the Peavey DDL-3."

3/17/26 (1635, passport) Technosaurus Cyclodon & Microcon + Peavey DDL-3 + Mackie Mix12FX

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3/9/26 (little Lee) Technosaurus Cyclodon & Microcon + Peavey DDL-3 + Mackie Mix12FX

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3/7/26 (Houlongxi creekside) Technosaurus Cyclodon & Microcon + Peavey 1300 + Mackie Mix12FX

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3/6/26 Technosaurus Cyclodon & Microcon + Peavey 1300 + Mackie Mix12FX

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

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"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."

2/20/26 (2 clips, tune knob) Pasco Scientific 9301 & WA-9307A + Yamaha EM-100

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"Two Pasco Scientific 9301 dual function generators are functioning (themselves and each other). The lower function on the right 9301 is modulating the top of both 9301s. We had our WA-9307A Fourier Synthesizer modified with a tuning knob, which I am turning back and forth in the first clip (chasing two pencil lines). The WA-9307A is being modulated through the right 9301. The spring reverb, panning, and a little EQ is from the Yamaha EM-100 mixer."

2/15/26 ARP 1613 + Roland System 100m + Alesis MIDIVERB II + CXM 1978

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"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."

2/12/26 (power test) Metasonix TM-3 & TM-6 + Ace Tone FR-1 + Alesis MIDIVERB II (65)

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"2/12/26 (power test) Metasonix TM-3 & TM-6 + Ace Tone FR-1 + Alesis MIDIVERB II (65)

Fox trot, tango, mambo. We are 6/8ths of the way towards our goal of creating a modular octagon. And the main corner is coming together pretty strongly now, with the EML 400 over the TR-909, the RE-201 over the EML 400, the DC-30 over the RE-201, the Metasonix TM-3 & TM-6 over the DC-30, and the Ace Tone FR-1 Rhythm Ace over all of that. This was a quick test of some new power conditioners and placements. The FR-1 audio is multiplied and sent to the TM-3 and TM-6 CV inputs. The TM-3 audio output runs through the TM-6. The stereo chorus is from the Alesis MIDIVERB II."

2/8/26 (first beat) Roland CR-78 & RE-301 + Alesis MIDIVERB II

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"2/8/26 (first beat) Roland CR-78 & RE-301 + Alesis MIDIVERB II

Just when we finally gave up on getting a Roland CR-78 for a good deal, this one popped up. It’s fairly similar to the Multivox FR-6 we used to have, but the CR-78 has that Roland sound, plus a lot more controls and sync features."

1/26/26 (2 clips) Pasco Scientific 9301 + Roland SBX-80 + Yamaha EM-100

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"A pair of Pasco Scientific dual function generators are clocked by the Roland SBX-80. Spring reverb and additional drive from the Yamaha EM-100 mixer."

1/25/26 York TT4 & rBPF + Zerosum 5654 + MFB OSC-3 ADSR LFO + Ladik S-143 + OAM Time Machine +

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"1/25/26 Zerosum Inertia 5654 + MFB OSC-3 & dual ADSR & dual LFO + York Modular TT4 & rBPF + OAM Time Machine + Ladik S-143 + ALM Pamela’s New Workout + Alesis MIDIVERB II + Peavey 1300 + Paia 6740 + CXM 1978

We got some resonant filters by York Modular and this was a first test. The Ladik S-143 sequences the MFB OSC-3. The MFB oscillators 1 and 2 run through the TT4 into the right side of the Zerosum Inertia 5654 dual VCA, which is modulated by the MFB dual ADSR, and then through the OAM Time Machine. Oscillator 3 runs through the rBPF into the left side of the 5654, modulated by the MFB dual LFO and dual ADSR, and then through the Peavey 1300 delay (panned left). All of the signals have reversed reverb from the Alesis MIDIVERB II, spring reverb from the Paia 6740, and stereo reverb from the CXM 1978."

1/17/26 (Comparison 3) Metasonix R-54 + Zerosum Inertia ZI54 + CXM 1978

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"This is the third comparison video I’ve made so far with the Metasonix R-54 and the Zerosum Inertia ZI54, by playing them simultaneously. For the first three minutes, I’m just turning the drive knobs on the modules to hear the differences, how it affects the timbre and even the pitch. After 3:00, I start messing with the resonance knobs. In this video, the ZI54 drive knob is much more aggressive, particularly when fully clockwise. The R-54 is panned a bit left on the Mackie Onyx 1640 mixer and the ZI54 is panned a bit right. Both have some stereo reverb blended on the CXM 1978."

1/17/26 Buchla + Eardrill + JRB + Synthetic Sound Labs + Peavey DDL-3 + CXM 1978

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"1/17/26 Buchla 258 & 244 & 281 292 + Eardrill Morphun + Synthetic Sound Labs 3650 + JRB VCBF + Peavey DDL-3 + CXM 1978

The Eardrill Morphun is sequencing the Buchla 258d sine/square wave oscillator. I’m playing the Synthetic Sound Labs 3650 manually to control the pitch of the 258d sine/saw wave. Eventually I insert a cycle from the 281 into the Morphun reset jack, which randomizes and disrupts the sequential loop. The sine/saw VCO runs through the 292r, with the gated sine/saw signal panned center on the Mackie Onyx 1640 mixer, while the gated sine/square signal runs through the JRB VCBF filter, modulated by the 281, then through the 292 into the Peavey DDL-3 delay, with the direct output panned slightly right on the Mackie and the delayed output panned left. All three signals have some stereo reverb blended on the CXM 1978."