"The Midimini was Studio Electronics' first series of synthesizers built from scratch. Prior to the Midimini was the Midimoog, which consisted of actual Minimoog circuit boards retrofitted into a rackmount enclosure. The Midimini does not use the original Moog circuit boards, but instead Studio Electronics designed their own boards. Minimoog users will find the layout to be quite familiar with some nice additions such as a dedicated modulation LFO, oscillator sync and switches for aftertouch control. This unit is in very good condition with a bit of rack rash on the top and bottom. If you are looking for that classic MiniMoog tone, wicked huge basses and leads.. This box delivers!"
"Feeling a bit of 80’s nostalgia ('Stranger Things' anyone?) I thought the time had finally come to try and give this classic electro-pop anthem the Circuit Tracks treatment. Released in 1984 (40+ years!) it’s too easy to forget how ground-breaking the song (and it’s subject) was in the political climate of the Eighties.
The song itself is a simple but almost perfect pop song. It was programmed on an MC-202 Microcomposer and is reputed to have started life as an electronic disco version of the Sex Pistol’s 'Pretty Vacant'!
Yamaha DX7 is used heavily on the track (notably the presets ‘Harp1’ and ‘Bass1’), and additional Sequential Pro-One, Memorymoog and Linn drums. I managed to simplify the arrangement to program everything and the vocals into a single Novation Circuit Tracks. Everything you hear is being played and recorded live from the Tracks.
I'm pleased at how close to the spirit of the original I managed to get this time. I hope you enjoy the track and it brings back some memories for you too."
"More details for synth nerds
BPM 135
I don’t own a DX7 (sadly!) but the closest thing I have is emulation. The repeated ‘Harp1’ DX7 line (and the ‘Marimba’ break) was sequenced on the Tracks MIDI 1 and sampled as 4-bar loops from the internal MicroDEXED emulator in an M-Vave SMK-37 Pro keyboard. Each sample was then triggered (like a drum sound) at the required point in the song using the Drum 3 track.
"Chapters .................. 00:00 Introduction 00:49 Organ Section with Vibrato controls 01:47 String Machine Section 02:16 Brass Section w Filter Controls 02:47 Musical Interlude 04:51 Left Hand Chords 05:57 Left and Right hand 07:12 Musical Interlude 2 08:31 Outro
CRUMAR CORDATRON (1974) Castelfidardo
This is an accordion string machine with organ section, a brass synth section with filter controls, trigger-able analog drum sounds and chord and piano presets on a Stradella button board. Crumar made a few different models of this type of instrument but this is the very first. Unicorn rarity is the order of the day regarding the control key- and button board - the serial number 3 of allegedly 10 units ever put in production.
Crumar had just started producing keyboards after mainly producing accordions, and around this time they launched the three COMPAC models that definitely inspired the sections of the Cordatron: Compac Strings, Compac Brass and Compac Piano.
Most of the CRUMAR CORDATRON specifications are in the video as text already so please watch the video and read the text - but a quick roundup would look like this :
The instrument consists of mainly two separate units connected by a huge, hardwired 3-piece connector : the main sound generator unit with power supply, audio outputs, tuning and volume pedal, as well as the control unit - basically a butterflied accordion with a Stradella button board for the left hand and a regular keyboard for the right hand.
All the sounds are analog and are generated by the very first generation of divide down technology - no eproms or other intruders of vulgar modernity is on hand. The sound generator weighs 23 kilos and is literally crammed with sandwiched layers of massive circuit boards of transistors and capacitors.
If you're into rare Italian synths and drum machines you can subscribe to our channel and please check out our other videos of rare gems, but you might also enjoy the V.A.I. website : a photo book and encyclopedia Italian Vintage Synths and Drum Machines: https://www.vintageaudioinstitute.com/"
Output: CV Out Hertz/Volt Analog Pitch Control (0 ~ +8V)
Output: CV Out Octave/Volt Analog Pitch Control (+1 ~ +5V)
Output: Trigger High to Ground
Output: Trigger Ground to High (+15v)
Modes: 3 Levels of Tracking Response
Range: High and Low range of operation
Output: Envelope Control Voltage
Dimensions: 283 mm (W) x 195 mm (D) x 110 mm (H)
Weight: 2.4 kg, 4W
In the late nineteen seventies, Korg was apparently determined to open the world of synthesizers to more than just keyboard players.
Introduced in 1979 just a year after the classic MS-10 and MS-20 the MS-03 converts incoming audio signals into a range of control voltage signals. The MS-03 can drive just about any monophonic analog synthesizer, with outputs that support both the Moog/Arp/Eurorack standard of one volt per octave, and the less common Korg/Yamaha standard of hertz to volts. The unit also has two different types of gate outputs.
For users of the Moog/Arp/Eurorack standard there is a tuning and width control. The tune control is used to "tune" the MS-20 to the attached synth, and the "width" control adjust the precise range of one octave.
Korg MS-20: The circuitry of the MS-03 is similar to the Pitch to Voltage circuit in the Korg MS-20, but a comparison of the two converters shows the MS-03 is faster and more accurate than the MS-20.
Korg MS-03: The MS-03 has many of the same controls as found on the Korg X911 Guitar Synthesizer without the synthesizer components. Features found on both units include footswitch-operated Portamento, Synthesizer "Hold" and "Cancel" functions.
[Condition]
This MS-03 is in perfect working condition and in Very Good condition. This unit was checked by professional technician.
FARFISA POLYCHROME - 1979
A gigantic instrument with an equally huge sound - was this the ultimate string machine of the era? With 4 independent sections of Divide Down-based instruments with lots of modulation capabilities - our bets are in.
The Polychrome uses octave-divider technology to achieve full polyphony meaning you can effectively play a 61 note chord.
It's a big-boned piece of gear, wide and surprisingly deep - it shares the same measurements as the ELKA SYNTHEX but adds a couple of kilos of weight - this to comfortably fit all the circuit boards inside.
We have an additional unit available for purchase - in excellent condition with the original carrying bag included - if you're interested please don't hesitate to contact us for more info, price and photos.
Most of the Farfisa Polychrome specifications are in the video as text already but a quick spec sheet would look like this :
There are four main instrument groups with individual preset sounds that are selectable one at a time
1. Percussive - 6 presets in. all (Piano, Harpsichord, Clavichord and the latest in modern piano emulation - Honky Tonk). This section is equipped with a dedicated filter with Brilliance, Decay and Emphasis parameters, effectively it doubles as a polyphonic synthesizer section.
2. Strings - 1 single preset with 3 octaves selectable simultaneously to form a massively huge string section.
3. Ensemble - 3 Brass preset sounds with an expanded filter section of brilliance and emphasis filter as well as attack and decay controls. There's an error in the video text here : all presets are 'free' - meaning you can adjust the parameters of all sounds. You can get a wide variety of sounds here, from synth leads to basses, brassy chords, you name it.
4. Vocal Chorus - Now this is special : 3 haunting choir preset sounds with an additional free mode, with access to Resonance and Cutoff parameters."
"The SoundForce SFC-mini V4 is a new dedicated physical hardware controller for Minimoog-style VST plugins. This video introduces the device and how it works, what's new in this model, the special bonus features that work with the Arturia Mini V4 plugin, and much more.
This video serves as an official intro to the SFC-mini V4, and was funded by SoundForce. Based in the Netherlands, SoundForce have been in business for more than 10 years making controllers and eurorack modules."
CHAPTERS: 00:00 - Why Does this Exist? 02:23 - Minimoog: From Bass to Pad 04:39 - Whats new in V4? 06:59 - Build and Feel 07:25 - How does the integration work in a DAW 08:02 - Mini V4 Smoothing Catchup 08:55 - Mini V4 Jump & Pick-up Catchup Modes 09:43 - Hopping between plugin instances 10:28 - How do you set up a Plugin? 10:52 - UA Minimoog 11:34 - Dump (Manual Control) 11:56 - UA Minimoog Play 14:01 - Extra Control at the Bottom 14:54 - Changing Presets (Mini V4) 15:46 - User 1 & 2 Mapping 16:41 - Mapping Another Plugin (MS-20)
Press release follows:
SoundForce is introducing the SFC-Mini V4, a high-end, dedicated MIDI controller designed for the world’s leading Minimoog software emulations. Featuring more than 65 hands-on controls arranged in an authentic Minimoog-style layout, it delivers a true analog-inspired workflow for modern producers. Representing over a decade of SoundForce MIDI-controller innovation, the SFC-Mini V4 is the most advanced and accurate Minimoog-focused controller yet.
Build quality The SFC-Mini V4 is assembled in the Netherlands using high-quality components sourced from Europe and Asia. Its case is built entirely from powder-coated sheet metal. Both sides are fitted with elegant 8 mm walnut wood panels for a vintage-inspired look.
Backed by over ten years of MIDI-hardware expertise, the SFC-Mini V4 is part of SoundForce’s newest generation of controllers. Its pots, sliders, and switches were chosen after extensive research and experimentation to deliver outstanding tactile response, long-lasting performance, and rock-solid reliability during assembly.
Plugin support: Because the SFC-Mini V4 outputs standard MIDI CC messages, it can be paired with any software or hardware that supports MIDI CC mapping. However, since each plugin has its own UI and MIDI implementation, the firmware provides dedicated plugin modes to ensure proper integration. The SFC-Mini V4 has specific plugin modes supporting the following plugins:
Arturia Mini V4 (incl 2-way) Arturia Mini V3/iMini GForce Minimonsta 2 Cherry Audio Miniverse UA Minimoog Softube Model 72 NI Monark Synpase Audio The Legend HZ Plugiator Minimax
2-way communication: Two-way communication means the SoundForce controller and a supported plugin can talk to each other in both directions, instead of the controller only sending MIDI data one-way. At this point, this feature is supported with the Arturia Mini V4.
In practice, that creates a far more “hardware-like” experience when using software synths. Change a preset, load a new instance on another track, move a parameter with your mouse and the controller automatically syncs its LED switches, and ingest the pot data in memory. When the received pot data from the plugin differs from the actual pot position on the controller, 3 options similar to Ableton take over modes can be chosen from: jump, pick-up and smoothing.
"This module is a 4HP version of the NLC 8HP Neuron & Difference Rectifier.
The differences are half the panel real estate, SMD components, LEDs to indicate activity and one less input on the Neuron (2 instead of 3).
From the original version description -
The Neuron was inspired by a paper on neural computing and is a variation of a typical analogue neuron circuit. It can be used as a complex audio waveshaper, gate or pulse generator, CV shaper or to generally mess things up. The diff-rect is a hybrid of two basic op amp ‘building blocks’ – a difference circuit and a rectifier. Not sure if I have ever seen the two merged together before. It is probably a bad idea except for synth use, where it is a wonderful idea!
The Difference Rectifier has 4 inputs (two + & two -) and two outputs. The Neuron has 3 2 inputs and one output, the pots control when the neuron will react to incoming signals and how much it will react."
"Spiral Motion is a collection of 64 Arp Presets for Moog Messenger. The patches cover a variety of Arp tones: mild and aggressive, deep and bright, simple and complex, soft and punchy, musical and experimental.
🧬 All sounds are very dynamic: they have synced modulations, and they are velocity-sensitive. You may hold a chord and add accents to the arpeggio with velocity, or add expressiveness via aftertouch. And, of course, you should play with Envelopes, Filter Parameters, Arp Patterns and Range, LFO Rate to get the best experience of the presets.
🧿 The soundset is universal, the Arps are suitable for all genres of electronic music, including Techno, House, Trance, Lounge, Downtempo, Funk, Disco, Pop, Acid, Hardcore, IDM, Drum'n'Bass, Breaks, Breakbeat, Trap, Electro, Ambient, Dubstep, EDM, Synth-Pop and others.
"This EML-101 was meticulously refurbished and is better than others you may find. This process required 36 hours of highly skilled vintage synth labor, plus parts costs. This unit includes the factory installed pitch bend wheel, which is rare.
Here's a summary of some of the work we did to this instrument that should make it significantly more valuable than others on the market:
We replaced the original handle - those familiar with 101s know the handles often fall apart - we've learned not to carry them by the handle / always carry them with both hands! At the time of writing this description, we see a unit listed as serviced with duct tape holding its handle together. This unit was fully disassembled and cleaned inside and out. Replaced jack washers and nuts. Rebuilt power supply for longevity (replaced electrolytic capacitors and 2 regulators). Replaced metal latches. Replaced electrolytic caps. Cleaned jacks. Removed and cleaned all keys. Removed and replaced rubber keyboard bushings. Cleaned and lubed key contacts and bus bar. Recalibrated CV VCO 1, 2, 3, 4, VCF. Replaced trimpots exp circuit. Replaced all pots that weren't perfect, so this unit works crackle-free and feels like playing a brand new instrument."
"I watched @smallplatesmusic excellent video detailing the story behind the samples used in the very excellent 1990 track 'Groove Is In The Heart' by Deee-Lite and thought it warranted a Circuit Tracks version.
I cleared the decks this afternoon and got to work!
(Check out the highly recommended original video below)
James recreates many of his tracks using Koala software and I've taken some of his edits, sprinkled a few extra ones from the original sources and have shoehorned them into a Circuit Tracks arrangement.
Everything you hear was programmed into and played on a single Circuit Tracks with no additional effects or synths. Hopefully it shows what a great sample player/drum machine it can be! (probably not quite how Novation thought this machine would be used - but it kinda works!)
The only non-original sources are a couple of Linn drum samples to beef up the rhythm, some General MIDI 'scratching' samples and some finger clicking and verbal gymnastics from the man himself, @smallplatesmusic
More details for synths nerds
BPM=122
No synths on this mate! Only samples!!
No 'butter' notes either..."
"Groove Is in the Heart": Sample Breakdown, stories, recreating Deee-Lite track in Koala Sampler
"Built on Herbie Hancock’s "Bring Down the Birds" and Vernon Burch’s 'Get Up' but including some very unexpected, sound effects, sitcom snippets, and belly‑dancing records, Groove Is In The Heart has big hidden depths.
I'll dig into the samples and tell you the stories behind each one:
Miles Davis’s 'butter notes,'
How an innocent sounding sample is hiding one of the dirtiest of house divas
A tenuous link with Donald Trump
Is belly dancing Greek? And why do we care?
In the end I will drop the samples into Koala Sampler (on my iPhone) and try to recreate the track. Because yes, we have Deee Lite at home.
Perfect for fans of sample culture, music history, and anyone curious about how one of the most joyful dance tracks ever was crafted.
0:00 - Introduction Overview of 'Groove Is in the Heart'
0:42 - Herbie Hancock 'Bring Down The Birds' Origins of the melodic bassline and guitar and the Blow-Up soundtrack. Why Miles Davis did (not) tell Herbie to lay off the butter
2:17 - Vernon Burch 'Get Up'. Burch’s career and gospel recordings, with surprising Stevie Wonder cameo.
3:08 - Combining the Hancock and Burch samples using the Koala sampler.
3:39 - Imagine my surprise when this “Trumpet” is actually supposed to be a woman’s scream?
4:30 - Hateful Head Helen / Sweet Pssy Pauline, HIDDEN FILTH. This is the original sample btw- • Hateful head helen ACAPELLA
5:35 - Sitcom Sample (Green Acres) The “I-I-I-I” vocal clip comes from a 1960s sitcom theme tune. Watch Donald Trump at the 2005 Emmys performing the same theme tune.
7:33 – Belly Dance Record Sample Intro chant “We’re going to dance and have some fun” from Tomee and the Grecian Knights. Discussion of belly dancing trend and what the hell a Bosonk is meant to be.
9:22 – Latin Percussion by Ray Barretto, plus studio-made finger clicks.
9:49 – Rebuilding the Track in Koala- Live attempt.
11:07 – Closing Performance Final recreation of the track showing how the samples are layered together.'
"The Juno-106 synthesizer was Roland’s successor to the Juno-60 and was first released in 1984. It was one of Roland’s first synthesizers to include MIDI and the patch memory was expanded to 128 patches over the 56 available on the Juno-60.
The synth is polyphonic with 6 voices and 1 digital controlled oscillator per voice. It has a chorus effect to fatten up the sound and by pressing both the Poly 1 and 2 switches at the same time, the synth can be played in monophonic unison mode with all 6 voices playing on every key pressed. It has a non-resonant high pass filter and a resonant low-pass filter.
It’s easy to program and remains a popular synth to this day.
This unit was fully serviced in Oct 2021 at Bell Tone Synth Works and at that time, all 6 voice chips were replaced with Analogue Renaissance voice chips. In addition, they performed the following services:
Replace 3 electrolytic smoothing capacitors in power supply, reflow solder on power transistors/regulators, adjust power supply rail voltages Re-solder output board jacks, cleaned output level switch and tuning pot. Clean volume pot, portamento pot and pitch bend pot. Replace old soldered-in patch memory battery with new battery in battery holder for easy replacement in the future; reload sounds. Calibrate all parameters to Roland specs. Replace 2-prong Japanese power cable connector with standard 3-prong IEC C14 Replace all panel button tact switches, clean all sliders, replace crumbly slider dust gaskets with new ones. Replaced (2) MN3009 BBD IC's in Chorus circuit with new Xvive MN3009s to reduce noisy wooshing Repaired and re-centered bender pot by resoldering the wiring and re-aligning to get the bender working correctly."
"Hello lovely peeps, thank you for subscribing to our newsletter!
This issue brings news of an incredible The NDLR deal (and sweet new color scheme), availability and instructions for accessing the special edition The NDLR Rev1 to Rev2 upgrade kit, and a little bit of rehash of previous news.
Black Friday? Cyber Monday? The NDLR is On Sale Now!
The NDLR is currently on sale for the lowest price we've ever offered, at conductivelabs.com/shop and at Amazon.com, and Amazon.ca (colors vary by location and availability).
And is available at select retailers worldwide. See The NDLR product page at conductivelabs.com for a list of retailers, including Perfect Circuit, Thomann, Juno UK, Control Voltage, Moog Audio and more. [check dealers on the right]
If you have a The NDLR Rev2 with the red base, be sure to check out the Release 3 firmware at conductivelabs.com/download if you don't already have it. There's a fresh manual for it too.
The NDLR Rev1 to Rev2 Upgrade Kit
We did an upgrade kit crowd funding to enable NDLR Rev1 to have all of the great new features we've added to the Rev2 hardware with Version 3 firmware. We've fulfilled most of the crowd funded kits and have some left to offer to those who missed it.
This is a limited edition, 1 per person/NDLR/household offer. Proof of ownership by providing your NDLR Rev1 serial number is required.
"This card original circuit was fully developed by DoJoe - J. Fenkes and with the great community of keyboard lovers. HALG modified the mechanical, the circuit, and incorporated couple important changes:
✔ The 3 main slide switches that are on the back of the card are stronger now; ✔ The components placement are fully located inside of plastic cover to protect against ESD (electrostatic discharge) ✔ A card enclosure was designed to protect the card when you need to carry around ✔ A plastic case now fits perfectly to cover components and switches; This memory card is a replacement for Roland’s M-128, M-256 and M-512 cards, as well as the electrically compatible Akai BR-16 and BR-32 cards. Compared to the original cards, this card has two advantages: ✔ It does not require a backup battery. It uses magnetoresistive RAM for storage rather than regular static RAM, which is a type of RAM that can typically keep its data for twenty years before it needs to be refreshed. ✔ A single card actually stores 16 M-128 / M-256 cards or 8 M-512 cards, which can be accessed by a pair of convenient switch sliders at the rear end of the card. ✔ Like the original card, it also comes with a write protect switch.
Instruction manuals for 100 Grit & BrainSeed pictured below.
"The 100 grit is a distortion, VCA, and low pass filter module with 8 brass touchpoints.
Features:
8 brass touchpoints 2 inputs to transistor core low pass filter Voltage control over frequency, resonance, and gain OTA VCA with soft saturation characteristics Distortion circuit based around a vintage headphone amplifier driven into instability Three position x100 gain switch with off, on, and momentary on settings Each input and cv input is normalled to a different feedback path (6 total) Seperate outputs for the VCA and distortion Can operate as a vintage voiced VCA and LPF or a screaming distortion and noise effect All analog design"
"Here we have a custom circuit bent Texas Instruments Speak & Spell.
Operates as a totally normal speak and spell until you flip a glitch switch or turn a dial, etc.
Very fun to play, no right or wrong way to it, this bent talking synth is capable of tons of new sounds for you to record, sample or play live.
The added mods include:
1) Tone Oscillator button-creates a tone when depressed, the tone can then be manipulated with the theremin pitch cell, pitch dial or pitch body contacts.
2) Active Matrix Glitch-This mod opens up the membrane for random glitching dependent on where you touch the pad.
3) Ramble Glitch-Flip this switch and hit go and it will spew constant ramblings on and on and on and on.........
4) Dual voice glitch- causes it so speak In both a high and low voice at the same time.
5) Pitch Changing Body Contact-Touch this to lower the pitch, the harder you touch the further the change.
6) Pitch Changing Knob-Use this pitch control to change the pitch from incredibly high falsetto to super low, 8-Bit crushing growl.
7) Reset Button-Use this when you're ready for a change and the machine is rambling on its own, also serves as an OFF button.
8) Theremin Opto Cell Controller-Simply flip the switch, use the pitch dial to fine tune and you can play any sound emitting from the speak like a theremin, makes for some great effects.
9) Loop Switch with Advance Button-FLip this switch at any time to catch a sound that you can then mold and play with the other controls such as the opto cell and pitch dial.
10) Strobing LED for cool effect
It now features a 1/4" output jack that mutes the onboard speaker, allowing you can output this into your effects, amp, pa, etc.
These mods add tons of versatility and droning textures for your playing, recording and experimenting pleasure."
Note: links to listings are affiliate links for which the site may be compensated.
video upload by Pipes.Rocks - 7 years ago
Spotted this one via the Perfect Circuit listing below. Note the video above is from 7 years ago and the videos below from roughly 6 years ago. I'm not finding any newer demos. The last update on their Kickstarter campaignwas from 3 years ago. Curious what ever happened to it. If you know, feel free to comment.
"Pipes is a new audio platform which out-horsepowers a laptop, outperforms any sample player, and is built to get even better over time.
Imagine the audio quality of a high-end audio interface combined with the fastest and most powerful sampler engine ever created. That’s Pipes in a nutshell, but it’s only the beginning.
Based on groundbreaking core technology, Pipes is a new category of machine for creating music and performing live. It has the convenience of a touchscreen tablet style interface, the flexibility of an open source software platform, and the durability for going onstage night after night. Best of all, it’s priced at half the cost of the latest smartphones and updates are free forever!"
Pipes gets bent! Behind the scenes at the manufacturing line.
video upload by Pipes.Rocks - 6 years ago
"Heavy metal being bent into its final form right here in America. While Pipes is a device we haven't seen before, there's still plenty of classic, tried and true ways to build an enclosure right. Take a look behind the scenes as the crew takes the pre-drilled flats and score/bend to create the enclosure. Not pictured is the second piece which comprises the bottom and left+right sides.
When we dreamed up Pipes, we knew that it had to be able to withstand the rigors of touring. While some people may only use Pipes in the studio, many of you will travel with it. We focused on an outcome that prioritized durability, that ensured proper ventilation, and that had enough weight and substance for withstanding exuberant live performances. That said, it's still a computing device, so definitely try to avoid dropping it or getting it wet!"
For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many.
So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.
2. ODD-1 Overview: Grains
This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.
3. ODD-1 Overview: 03 Envelopes & Time Path
This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.
4. ODD-1 Overview 04: Sample
This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.
5. ODD-1 Overview 05: LFOs, Macros, Patching
This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.
6. ODD-1 Overview 06: Filters, Saturation, Echoes
This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!
7. ODD-1 Overview: 07 Layers
This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.
8. ODD-1 Overview 08: Reverb & System
The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.
The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.
If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?
And from their newsletter:
What’s in a name?
For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.
Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.
When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.
Build Updates
We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.
We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.
We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.
We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.
We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.
We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.
Today we've got the Solarfaze on the bench, by Vongon. It's a stereo saturation and detune (aka chorus) effect. Here's how it works and what it sounds like.
00:00 Intro
01:43 Chorus
05:23 Saturation
09:45 With Subharmonicon
11:40 With Pulsar 23
14:10 Multiband Guitar Loop"
"Warmth. Movement. Glow.
This is the new Vongon SOLARFAZE — a stereo chorus fused with saturation.
Joined by Replay, Ultrasheer, and Polyphrase, here’s how it dreams.
Enjoy."
00:00 Jam
02:36 Intro
03:59 How to support me
04:30 Overview of SOLARFAZE
05:45 Saturate
08:15 Detune
10:04 Bringing in the other pedals
11:15 A different effect chain
15:13 Bonut tip : Transposing arpeggios with Replay
16:10 Solarfaze on Pads
20:05 Conclusions
Vongon Solarfaze is beautiful (harp, guitar, synth, drums)
The Solarfaze from Vongon is a stereo 3-band saturator and detune/chorus pedal that gives you exacting control over the frequency landscape of your signal. Whether you're adding a bit of undulatory warmth and saturation or assaulting the frequency spectra of your choice, Solarfaze as you covered, often surprising you with its tonal complexity. The heart of the pedal is a 3-band Bass, Mid, and Treble saturation mixer with each section offering three levels of gain: Soft, Boost, and Hard. Each band can be finetuned to one of five different frequencies, making this pedal as versatile as you are.
The Detune section offers a simple interface for adding movement and interest to your signal, affecting the stereo field, as well for a satisfying binaural experience. Adjust the Amount and Mix to your taste and turn up the Envelope control for dynamic expression that is based on your playing. Size can be adjusted as well to create a smoother or tighter detune effect. Other features include a built-in Noise Gate and an effect rerouting option. Indeed, the Solarfaze is a wonderful addition to the already incredibly Vongon lineup and is sure to find a use in any pedalboard.
SOLARFAZE FEATURES
Stereo multi-band saturator and chorus Soft-clipping waveshapers for smooth transition from subtle warmth to heavy breakup Bass, Mid, and Treble drive sliders Selectable gain level per band: Soft (0dB), Boost (+6dB), Hard (+12dB) Each band has 5 different frequency options Stereo detune chorus with independent left/right pitch shifts Envelope modulation of detune amount for dynamic stereo animation Route Saturation into Detune and vice versa Built-in Noise Gate with adjustable threshold MIDI Input for parameter control and 9 preset storage
"Three tracks created by using standalone synthesizers and eurorack modules. Sequenced from the Squarp Hermod+, I thought about recording everything simultaneously, but I decided to record it in groups to allow for more hands on manipulation of the equipment.
For drums, samples were loaded into the 1010music 'Bitbox Micro' with the following modules also used for processing the summed samples: Make Noise 'QPAS', Xaoc 'Koszalin', Qu Bit 'Mojave' and 'Nautilus', Erica Synths 'Blackhole DSP 2', Qu Bit 'Data Bender' (triggered/modulated using the Make Noise '0-CTRL'), and Noise Engineering 'Librae Legio'.
For synthesizers, the following hardware was used: Sonicware 'Evoke', Korg 'Arp 2600m' and 'Minilogue XD', Sequential 'OB-6 Desktop', Novation 'Peak' and 'Circuit Mono Station'.
Forward Momentum 0:00
Revival 3:59
Through the Window 8:20
"The Midimini was Studio Electronics' first series of synthesizers built from scratch. Prior to the Midimini was the Midimoog, which consisted of actual Minimoog circuit boards retrofitted into a rackmount enclosure. The Midimini does not use the original Moog circuit boards, but instead Studio Electronics designed their own boards. Minimoog users will find the layout to be quite familiar with some nice additions such as a dedicated modulation LFO, oscillator sync and switches for aftertouch control. This unit is in very good condition with a bit of rack rash on the top and bottom. If you are looking for that classic MiniMoog tone, wicked huge basses and leads.. This box delivers!"
