"We're on the ground in Berlin at the year's biggest synth event. Stay up to date with all the latest gear news, announcements, and preorder info on our Superbooth coverage hub."
WMD's Skorpion is a next-generation analog wavefolder module that redefines how timbre can be manipulated and modulated in the modular environment. Featuring eight cascading fold stages controlled by a powerful vector core, Skorpion introduces a dynamic system of thresholds and voltage targets, allowing users to morph basic waveforms into harmonically rich, evolving shapes. Its hands-on slider interface offers intuitive control over folding behavior, modulation depths, and macro animation, while the hybrid analog-digital architecture ensures both sonic depth and interface precision. Whether you're after subtle saturation or full-spectrum harmonic chaos, Skorpion provides a versatile platform for creative signal transformation.
Beyond its core wavefolding capabilities, Skorpion offers a wide array of modulation tools including a dedicated macro envelope, internal LFOs, CV routing, and stereo widening functions. Unique features like target Order, Sync modes, and symmetrical/asymmetrical modulation application give users the power to craft entirely original textures with fine-tuned control. Designed to be both exploratory and exacting, Skorpion delivers a deep synthesis experience for sound designers, live performers, and modular enthusiasts alike.
SKORPION FEATURES
8-stage analog wavefolder with threshold and target voltage control
Hands-on slider interface with macro animation and modulation layers
Internal modulation sources: macro envelope, threshold LFOs, CV modulators
SYNC and TARGET ORDER modes for advanced waveform manipulation
Stereo WIDE output with second vector core and delay-based processing
Hybrid analog-digital design using high-speed CMOS circuitry
Extensive CV I/O including rectified, differential, and gate outputs
"Today I decided to push my limits—and my gear—by diving into the Digitone 2's arrange mode using the challenging yet inspiring time signature of 7/8. Honestly, it felt like a creative stress test, pushing the workflow to the edge to see what hidden gems might emerge. Will the complexity of odd rhythms, short patterns, and the arranger spark fresh ideas, or just lead to musical chaos? Either way, I'm excited to explore the possibilities!"
"A live synthesizer jam performed entirely on hardware.
This is a remix/reimagining of "Suantrai" by Jan Steiner, which is on his new EP. Jan is a friend, and a member of my Patreon community, and he reached out about the idea of a remix. The song itself is quite sparse, but beautiful and melodic, and the whole EP is a little hard to predict; I tried to take the beauty and melody, and add my own type chaos into the mix.
I started with altered versions of four of Jan's instruments (string thing, bass drone, Rhodes, light percussion) and went wild with my own additions (my own orchestra sound, off the top; mangled drum breaks; glitched percussion). This left me with some audio files I could work with in the Octatrack.
Once in the Octatrack, I realized I wanted additional melodies and sounds, so I hooked up the Roland SH-4D. The SH-4D is a four-part multi-timbral synth with a fifth layer for drums, very useful for making songs. The melody, arpeggio, extra bass, and midrange distorted drums all come from the SH-4D.
Altogether this left a pretty full arrangement, and the scenes/fader—the magic of the Octatrack—helped to bring out the performance. Most scenes were to alter the drum breaks, by reordering, repitching, and/or retriggering the drum slices, plus with additional effects like phaser, sample- and bit- reduction, distortion, etc.
The end result captures what I loved about Jan's track, and his EP in general: beautiful and melodic, sprawling but intentional, but with a little chaos thrown into the mix. I hope you enjoy.
Thanks for listening.
Elektron Octatrack MkII - Six audio sample tracks playing eight or nine audio sample parts across the song, plus effects, plus sequencing of everything (including MIDI), plus mixing of the audio from SH-4D, plus scenes
Roland SH-4D - Three synths (melody, arpeggio, bass) plus minimal drums in the finale
Performed and recorded live to a stereo output, with EQ, compression, and limiting on the master.
"«EC Generative» is a collection of 25 patches (+25 patterns for Crave) for semi-modular synthesizers Behringer EDGE + CRAVE. ⚙️ This genre of sound design is very popular in modular culture, and EDGE + CRAVE provide an excellent set of features to get you started. Controlled chaos, randomness, probability, non-repetitiveness, tempo variations, pattern uniqueness, alternating short and long sounds, unexpected changes, silence and density, harmonic and FX-like tones, freaky splashes during sequences—all of these elements are included in the soundset.
Generative timbres can add to or lead in ambient or techno tracks, jams, and performances. You can also record fragments into your DAW or sampler, slice them into one-shots, or create loops to obtain unique material for further processing.
🔮 The main focus of the soundset is a high level of interconnection. In this patchbook, the timbres of the synths are intertwined and cannot exist separately: 🔸 They modulate each other with LFOs and envelopes. 🔸 A sequence from one synth alters parameters on the other. 🔸 Gates and triggers interact to disrupt predictable patterns. 🔸 Audio signals from OSCs may serve as modulation sources to create harmonies/intervals or wild, experimental inharmonic tones. 🔸 They may also be used as audio sources sent to the other synth for processing with its different filter and envelope, giving them a 'second life.'
"The Metasonix T1 is an ultra rare piece. Only 10 in existence. this model is serial number #2 of 10.
This T1 is preowned but in absolutely pristine condition.
Includes:
original PSU, original owner's manual, product box and replacement tubes.
From the Metasonix T1 owner's manual:
The T1 is our FLAGSHIP instrument! Our best/worst! It is an intentionally primitive device, using late 1950s technology for the entire signal path. Do not expect it to sound or behave like a Moooooog! Do not expect it to sound or behave like a copycat machine trying to sound like a Mooooooooooooooog! Do not furiously twist the knobs in search of the 1980s DX7 tone. F*** you and f*** the 1980s! Oh, and PS: there are no presets!
So, let's put it in terms even a musician might possibly absorb.
Think of the T1 as a primitive box containing 3 screaming children, being punched in the face to the rhythm of the internal sequencer or user supplied (this means you!) control-voltage source. These screaming voices are generated by the thyratron VCOs that are staring at you right now (you do like to read the manual while you have the unit in front of you, right?) The VCOs are modified RK7 modules, okay?
The knobs control the amount of strangle of the screaming voice. Turn them to the right for higher pitched screaming, and turn to the left for a tighter strangle and more choking. They go thru a mixer/mangler similar to the RK3 module, thence thru a bandpass filter similar to the RK4, then to a lowpass filter/LPG similar to the RK6. Finally there is a pentode VCA on the output, and one envelope generator to control either it or the LPG, selectable by the toggle switch between the LPG and envelope. There is only ONE envelope on this bastard thing, because it’s supposed to be as primitive as possible. If you want to sweep the filter or suchlike, or you want an 'LFO' thing, use the sequencer to do it. Or use external control-voltage sources. There were no such things as “envelope generators” or “LFOs” in the 1950s.
'I believe the common denominator of the Universe is not harmony, but chaos, hostility and murder.' – Werner Herzog"
"The Hypster is getting rate cv from a Dotcom q119 sequencer and is Frequency modulating an Ian Fritz Teezer VCO. It is also providing cv to a Steiner Filter also from SSL. The Filter is also getting cv from the sequencer. From the Filter the audio goes to a Musonics VCA turned up with no cv. I had that patcher for future plans that aren't in this video. Then to a Manecolabs Clusterverb for reverb and delay.
Very simple patch but sounds great.
This is the 5u version. NLC Nonlinear Circuits did a Eurorack version."
// I’ve installed one of the first Revolution 909 firmware upgrades from Addictive Instruments into my own personal Roland TR-909 and I released a little enthusiastic clip about how delighted I am to have 33 year old serious problems resolved. This is the first of a few posts planned for today to show you why it’s so amazing to me.
3. TR-909 FIRMWARE VERSION 5 - Demonstration 2 - SWITCH BETWEEN PLAY AND WRITE MODE IN REAL TIME
// This is something that I’ve been thinking about since 1991 when I first got my own TR-909: The ability to switch between pattern play and pattern write without having to stop the sequencer.
WHY IS THIS IMPORTANT? The TR-909 in pattern write mode allows us to do some clever things. We can change the length of the pattern using last step, and we can add and subtract notes and accents (internal and external) to develop our pattern. However, we can only do this in write mode. So in order to do these things in performance we have to A ) stop, change modes, and start again B ) stay in write mode always (can’t change patterns in write mode) C ) program our drums from another device entirely D ) add all the chaos, and then use the level knobs to bring sounds in and out (the way maestro Jeff Mills makes magic!) or E ) make a ton of patterns ahead of time and switch between them as our performance. We can do mutes on a mixer, use a midi controller. There are options, but when I’m playing live it’s just me. I have stuff happening. It’s a lot to navigate and keep track of. Changing mixer settings, dealing with midi controllers, or even flipping through preset patterns can be distracting and a bummer. Adding the ability to just get into write mode and change the length for a fill, or a sidetrack, or a totally new in the moment idea is fantastic!
4. TR-909 FIRMWARE VERSION 5- Demonstration 3 - MUTES
// This is something which I didn’t anticipate being so amazing. I use mutes on the mixer as a fundamental part of how I perform live, but I don’t tend to reach for instrument mute functions on the actual devices. This is not a personal bias, but rather a point of clarity. I’m doing like 25 things at once in any given performance (and singing) so it’s pretty easy to forget what I’ve muted or un muted unless it’s in central place (like on the mixer), but after all I just explored in demonstration clip 2 about ways to add and subtract sounds live, mutes are a marvelous and really powerful addition to this list of ways to address patten complexity in a live performance.
// Ok, this is really simple, but it’s so super extra totally bad ass.
Fig.1 INSTANT PATTERN CHANGES The thing about the TR-909 is that it doesn’t instantly change patterns. You have to wait for the end, and then it starts the next selected pattern. To get around this you can do some stuff: • make some really complicated patterns • make one big complex pattern and then use the mixer to bring things in and out (fun!) But this is fantastic! Just hold down shift and start instantly jumping between patterns. Add a crash from a crashy pattern, start a fill, and switch to just a kick drum, mix and match patterns and really get something heavy going - THEN get involved with the mixer, and it’s a gorgeous avalanche of TR-909 awesome!
In my example here I’m just showing you that it’s possible now. The rest is up to you.
Addictive Instruments have released firmware version 5 for the Roland TR-909 and the RE-909. It’s a real upgrade which requires soldering and while it isn’t easily reversible, the upgrade also includes firmware v1 and v4 so you can revert by choosing another firmware and booting it that way (no one would ever know).
Find out more at revolution909.fr This first batch is limited to 100 so if you’re as happy about this as I am, hurry up! That said, I believe in these guys and totally hope that this all goes well, and this will continue to be available (and more!) until all the TR/RE-909’s have one inside.
This was demo 4, one more and I’ll leave the rest to you.
// I’ve been using the EXT INST function of the Roland TR-909 since the day I got it. I love triggering samples, basslines, and other drum machines from the stately TR-909’s main panel. The hassle has always been that the notes it generates can’t be changed. So you get an octave or so of fixed notes and that’s all. I’ve spent a lot of time messing with samplers and getting the sounds I want to trigger from the notes I have to offer, and while it’s fun, and useful, it can be a drag. Fact is, a lot of people never even explored it.
Fig.1 CENTRAL CONTROL WITH TR-727 The TR-727 doesn’t allow us to control its midi notes either, but the Addictive Instruments firmware v.5 update has presets and it has a user mode (fig.2). So we can play any note we want on any channel we want at any velocity we want now. My 727 is upgraded with Harry Axten‘s perfect sound rom upgrade, and this is my own custom rom, and here it is being beautifully programmed by my beloved TR-909!
Fig.3 BASSLINE This is an example of using the user template to create a chromatic keyboard and programming a bassline which is saved with my drums, and subject to all the new and original functions of the 909. So much fun!
Clearly I was already in love with my TR-909, but I’ve fallen all over again here.
The external instrument mode is expanded, and it much more powerful now, it’s also nicely documented (at last) in the manual. It is more complicated than plug it in and go if you want to make the most of it, and it’s worth it. This is something wonderful.
"Here's my raw, unedited and literal first patch and experience with the Time Machine Eurorack module from OAM (Olivia Artz Modular). I've been excited for this one since I first saw it, I'm a huge delay fan and a multi-tap delay with loads of control was bound to have me interested!"
Time Machine is a tactile interface for mixing together 8 delay lines with an input signal. At least that was the plan. We made a prototype and got like 300% funded on kickstarter, so we got to work.
As the DSP engine was refined a sonic character emerged that howls like guitar feedback while granulizing like the grey goo at the end of the universe. We leaned into this. The resulting module can create clocked rhythmic glitch effects, reverbs, chaos, and ego-death.
22 HP 25 mm deep 122 mA +12V, 8 mA -12V 24-bit audio in/out (-5V to +5V) 16-bit CV control (-5V to +5V)
The above playlist features a handful of Oberheim OB-X8 videos by Adam Borseti. Note the first few videos feature the custom OB-Xa style overlay (link below), followed by the stock OB-X style panel.
Playlist:
1. First Day of Summer! (Oberheim OB-X8)
Here's a fun little spur-of-the-moment jam over a song I've been working on. This is the direction I want the song to go in, but I'm probably going to re-record some of it. We'll see. You like the 80s style OB-Xa/OB-8 blue pin stripes for the OB-X8? I do to! They're made of semi-rigid plastic and can be applied or removed in less than 2 minutes with no adhesive. It's really cool to be able to switch between the late 70s OB-X look and the super-1980s OB-Xa and OB-8 look.
Using the SEM filters in lowpass for the bottom layer and a delicious Notch filter on the upper layer pad.
4. OB-X8 - Left Hand Bass Exercises
Laying down bass lines thick and hard with lefty, following the lead of whatever chord righty is holding down. This was all improvised so forgive any chord meandering and weird transitions, mistakes and the like. Is what it is.
5. "Approaching Chaos" - Oberheim OB-X8
All sounds made with the Oberheim OB-X8 run through a Zoom MS-70CDR, with the drums from my Roland TR-626. Enjoy
Consider this some filler while I'm working on my next actual song. I'm almost done!
7. "Reflections" - Oberheim OB-X8
A new original tune of mine, the first in a good long while! Less time and more stress have resulted in less creativity haha, but I'm trying over here. :)
"At long last IDUM is back! IDUM is our multi-effect processor for gates, allowing anything from a little variation to absolute insanity. Here is a little jam showing off using IDUM's new features - split mode and the improved looper.
We have a two IDUM system here with one controlling the VPME quad drum and a second controlling a set of SSF percussion modules as well as a voice made with the Schlappi Engineering Three Body and Boundary. We are also controlling our Tree/ Leaves combo module which is doing the main sequencing duties. The entire patch is mixed using our 3DVCA modules and our upcoming Ana v2 modules are acting as a macro controller, allowing us to change the whole patch with just four knobs. The main sequencer is the amazing Westlicht Performer.
In this jam I am focusing on showing how much variation you can get out of IDUM without changing the source sequence at all. This means that the same trigger sequence is driving IDUM the entire time and the note sequencer is not changed at all either, all of the variation you hear is either from manipulating IDUM or from changing some of the timbre settings of the drums.
If you would like to learn more about IDUM go to our website here:
"IDUM is a gate processing effect that turns its input effortlessly into IDM. Making complex electronic music with the modular usually requires meticulous sequencing done in advance or a large ecosystem of modules. Unfortunately, the level of expertise needed to accomplish this is not accessible to the average modular user. IDUM aims to make this process easier and put Intelligent Dance Music, also known as IDM, into the hands of people with average intelligence. IDUM does not require much knowledge to get immediate and compelling results; but with some extra familiarity, this module can enable innovative music making techniques. Instead of generating musical patterns on its own, IDUM acts like an effects processor for the sequences that run through it. For example, a filter or a delay allows the user to alter their sound by twisting the knobs or modulating the parameters. Similarly, IDUM manipulates the actual gates and sequences of connected modules, but with a level of playability normally inaccessible to a sequencer. IDUM can vary carefully crafted sequences or turn your music into an onslaught of controlled chaos. Its open source code and hardware based on the beginner friendly Arduino Nano Every encourage users to tweak their modules to taste or to add new features all while ensuring future improvements as IDUM makes its way into the wild."
"Meet Neptune, a salty sea dog of a Eurorack module, dripping in character from Winterbloom & Decapod Devices. It's a diode ladder filter with an added 'salt' control, which is a feedback-modulated distortion (I show you exactly what this is AND how to add it to your own filters/patches in the video).
It's a multimode filter that instead of giving different filter mode outputs gives inputs to them, which allows for flexible spectral morphing between two inputs, dual band saturation and tilt EQ FX and plenty more, lots of patches below, take a look.
As part of this video I sat down to chat with Carson Walls of Decapod Devices. Short parts of that interview are in this video, but you can watch the full thing here [video below]."
INTRO 00:00 Hello & previews 01:20 What is Neptune & tell us about the SALT?!?
SOUNDS & FEATURE RUN DOWN 02:32 Feature run down 03:34 Low pass sounds 04:15 High pass sounds 04:39 Peak EQ & notch behaviours 04:52 Salt me baby 05:38 Decapod Devices interview preview
PATCHES 06:26 A characterful back end for a synth voice 08:13 Spectral Crossfading - a wonderful performance tool 10:27 Salt, in the designers own words 11:15 How to add salt to any filter 12:58 Cute Delicate Pings & Soft Salty Blurps 15:28 Tilt EQ, compression & phaser like sweeps 18:02 Notch Filter phaser FX 18:44 Kicks from the ocean floor 21:01 A Waveshaping Oscillator with added FM & AM 22:05 Neptunes Salty Acid 24:05 Chaos-scillator - a one module salt in the wounds noise concert 25:13 Audio Rate Modulation 26:29 Sub Audio Processing - Resonating Envelopes & Interjecting Wobbles
Getting to know Decapod Devices for the release of Neptune with Winterbloom
"This video is a historical, technical, and musical deep dive into the Buchla 100 Series Modular System at the Mills College Center for Contemporary Music. This instrument was the first voltage controllable modular synthesizer built by Don Buchla—it was delivered to the San Francisco Tape Music Center in the mid-1960s.
In this video we’ll start with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, we’ll unpack everything that’s inside the instrument module by module. Finally, I’ll share some of the quirks of this particular instrument, and lots of patch examples to illustrate its unique voice and character.
As I was getting to know this instrument, I tried to keep in mind the circumstances surrounding its development—the people who contributed to it, the time in which it emerged, and the state of electronic music at the time of its invention. These thoughts greatly inspired my approach to working with the instrument and are present throughout this video.
It’s a rare opportunity to be able to work with a historical instrument like this one. I have always been super inspired by Buchla’s work in general, but like many people have had few opportunities to work with his original instruments. Instead, much of my experience has been through newer instruments inspired by his designs. Being able to work closely with this instrument was an incredibly inspiring and clarifying experience that allowed me to gain a deeper understanding of Buchla’s own creative and technical development, as well as the multitude of music, modern modules, and instruments that have been inspired by his work.
Special thank you to Mills College for letting us spend a week in the electronic music studio working with the Buchla 100; to The Buchla Archives and Ryan Gaston for helping to put this video together; and also to all of the amazing folks in my Patreon community for your support in helping to bring educational projects like this one to life!
Learn more / join the waitlist for Learning Sound and Synthesis, my online modular synthesis and sound design class: https://www.soundandsynthesis.com
Join my Patreon community for behind-the-scenes content, unreleased music, and extended tutorials: sarahbellereid
TIMESTAMPS:
00:00 Historical Overview: Buchla 100 + the San Francisco Tape Music Center
7:38 Mills Buchla 100 System Overview
14:27 Timbre in the Mills Buchla 100
18:29 Chaos in the Mills Buchla 100
21:52 Voltage Control Quirks
25:00 Sequencing Tactics: Triggered Segments
30:40 Sequencing Tactics: Extended Sequences
32:06 More Patches + Sounds
32:36 Ring Modulated Reverb Patch
34:40 Keyboard Chaos Patch
36:55 Gated Voice Patch
38:29 Wonky Drum Machine Patch
38:57 Triggered Gestures Patch
39:14 Transposed FM Sequence Patch
39:48 Bell Tones Patch
40:27 Touch Controlled Ratchet Patch
41:00 Sequenced Melodic Patch
Sarah Belle Reid is a performer-composer, active in the fields of electroacoustic trumpet performance, intermedia arts, music technology, and improvisation.
"In the Spring of 2024, Reid spent a week at the Center for Contemporary Music at Mills College, where she worked closely with their original Buchla 100 modular synthesizer system. This specific instrument’s historical significance can’t be overstated. It was the very first voltage controllable modular synthesizer that the now-famous artist, inventor, and electronic musical instrument designer Donald Buchla built in the mid 1960s—indeed, one of the very first modular synthesizers altogether. In its time, this specific system has been used by countless inspiring and influential musicians, such as Pauline Oliveros, Morton Subotnick, Suzanne Ciani, Warner Jepson, and others.
The video begins with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, Reid unpacks everything that’s inside the instrument module by module, with sound demos and examples. Finally, she shares some of the unique quirks of the Mills Buchla 100 instrument, and patch examples of how the instrument can be used to create a wide range of music and sounds."
"I made this video on the 26th, 27th and today the 28th, so it's not a jam but a regular video. The main subject of this video is patching from scratch. With infinite possibilities, where do you begin? For me it's often a patchpoint I haven't used much or don't understand well. I had just finished the Mysteresis video and new ideas pop in when you're done and doing something completely different like cooking or cleaning. Since I've been working with Echophon feedback, I wondered if I could do something different with Mimeophon. Feedback doesn't really work, but how about clocking Mimeophon with Wogglebug, which is clocked by Mimeophon? I call it a clock feedback loop but don't know if there's a name for it. The fun obviously begins when you're going audio rate. The results were interesting, but not as spectacular as I hoped for. Second subject of this video is the Spectraphon Noise + Chaos mode which was added in the lastest firmware. The clock feedback delay and the SP were a nice combo and at the end of the session I finally got something worth sharing. I ended the video with a stock scene from a tibetan bowl player because it looked interesting and it had this relaxing vibe. This morning I patched up the Spectraphon to make bowls, so the stock video makes sense. It sounded very nice! So here's how one idea leads to another and adds up to your knowledge and experience. It's something you can't really learn from a book, you just need to let it happen and learn as you go. So it's noise and chaos from both Mimeophon and Spectraphon, and definitely in the patching process :).
Without a goal and without expectations, because a modular will always take a different route. So always keep that recorder running...."
"How you like your kicks? How you like your blips? Big and boomy? Tight and snappy? Clicky and poppy? Stiff and twangy?
This is the third in a short series of videos is all about making techno-ish dance music with a specifically-tailored eurorack case. This time we're comparing a short, brighter percussive kick to a darker, boomier kick using the same module WMD Crater. We're also adding some short plate reverb to the kick and toms so they start to ring out a bit. I find that makes the T-networks clicks and pops sound like Chinese New Year firecrackers.
Shout out to Susie
I'll be releasing completed mixes of these one-shot improvisations later this month. To hear more of my work with modular techno, check out https://soundcloud.com/bilijie Or buy stuff at https://bilijie.bandcamp.com Also Spotify if you must
Sequencing: Acid Rain Constellation, Clank Chaos
Voices: WMD Crater, Addac 104 VC T-Networks, SSL Thundrum, Erica Synths Pico Drums, Prok Drums flashed as Music Thing Radio Music, Befaco Pony
Filter: WMD C4rbn
VCA: Bastl Aikido
Function generator: Cosmotronic Delta V
FX: Happy Nerding FX Aid
Mixing and EQ: Worng Soundstage II, Nano CEQ, Make Noise XOH"
"This video is about Rung Divisions, by Fancyyyyy Synthesis. It’s one of the most inspiring modules I’ve used recently, but it’s also quite a hard one to sum up in one sentence.
It has two main components. The first is a clock divider which outputs pulses that you can combine in two buses to create polyrhythmic patterns. That drives a universal shift register which outputs pseudo-random, chaotic or looping stepped voltage patterns. It’s an evolution of Rob Hordijk’s Rungler circuit, which is at the heart of the Benjolin synth. And there are dozens of interesting musical applications for it - a few of which I explore here.
NB: Fancyyyyy Synthesis sent me this unit to check out, but I don’t get any other sort of payment. This is a demo, not a review, and this channel is a hobby, not a job, so I only showcase things that I’m genuinely enthused about.
More stuff from me:
https://tomchurchill.bandcamp.com/
https://soundcloud.com/tomchurchill
https://www.instagram.com/tomchurchill/
Chapters:
00:00 Intro and patch previews
02:46 Rung Divisions overview
05:54 Drum trigger sequencing
09:54 Melodies from pulse divisions
14:14 Shift register sequencing
20:15 2-channel pitch sequencing
24:00 Patching a voltage-controlled clock divider
27:42 Shift register as a VCO
30:22 Rungling for chaotic sequencing"
Rung Divisions combines a universal shift register, a “divide by n” pulse divider, analogue noise, and several logic and binary operations. These functions synthesise an array of predictable and unpredictable digital signals at arbitrary time scale.
Rung Divisions’ primary use is as a complex polyrhythmic gate generator that drives a chaotic / pseudo random / looping stepped cv pattern generator, with voltage control over the pattern “direction”, length, and chance of the pattern looping. The combination of these features can be used to generate auditory illusions similar to a stroboscopic effect – like the visual aliasing of a wheel that appears to stand still and reverse direction at speed. Rung Divisions is built with solid state & discrete logic blocks to work at frequencies between 0–40kHz. The module is designed to drive multiple voices with gate patterns and CV, or to generate audio rate mayhem - these functions can be combined through patching with other modules that can take input signals over a wide frequency range.
Rung Divisions behaves in many surprising ways with feedback and self patching - the module has propagation delay compensation to allow for all outputs to be used in feedback loops.
Polyrhythmic Clock Divider Random / Looping Sequencer Chaotic Stepped Signal Generator 12hp 35mm deep +12V 58mA -12V 42mA Complete redesign of the 2018 module, building on the original features in multiple ways: Universal shift register - can shift data in two directions Dual gate bus with three position switches CV over pattern length, shift direction and chance of loop Analogue noise output Clock pulse width affects all outputs 1-bit, 3-bit and 8-bit data encodings All solid state and discrete logic, runs at wide bandwidth Expander ports for upcoming dual oscillator, cv addressable clock divider, bit sieve and random voltage sources
"This is a super cool handmade experimental noise synth, and the craftsmanship really shows. I've been pining for one for a while but in the end it just isn't the best fit for the music I make, so I'm moving it on. It's hand-built using a wooden craft box and epoxy resin with interesting pulsating LED lighting and feedback/filter controls. It's also got a mode switch that alters elements of the overall sound, and the touch-sensitive metal contacts allow you to essentially play it like an instrument, as the sound changes and responds to your touch.
Here's how the builder describes it:
'Explore the sonic ether with this experimental sound machine this Phantom Cell. Channel all metaphysical frequencies with the Phantom Summoner. Touch the metal contacts to become part of the cosmic circuit. Special components are sensors to extra dimensions of the unseen and unheard. Enjoy making new and glorious sounds as you experience new frequencies and vibrations. Has built in echo/reverb circuit that can go from a metallic reverb sound to total noise chaos. There is a feed back knob for infinite feedback to a lowpass filter. I added a switch that changes the output mode turning on and of additional circuits.'"
"'ROSTOCK by Xaoc Devices should not be taken lightly' is what I figured out while making this video. ROSTOCK can be easily mistaken for just being a delay, but the patch ideas (provided in the manual of ROSTOCK) prove that with some creative insight you can use ROSTOCK for much more somewhat unexpected and useful things.
This video is a slow burn. I start of by proving that high-fidelity audio rate delay is probably not the strongpoint of ROSTOCK, but just like me there will probably be a lot of people hoping that they can still get away with using it as such. That's why I spend a generous amount of time showcasing this feature of the module. I demonstrate and explain how the clock works on ROSTOCK and how to use the seperate clock inputs, as well as exploring the loop and scramble features of the module. Afterwards I go into detail about the patches provided in the manual of ROSTOCK and you'll soon see that this is where ROSTOCK really shines: auto-generative waveforms, patching up a trigger/gate sequencer or 1-bit multi-tap delay, creating chaos and looping melodies, ... ."
0:00 intro 0:24 a few sounds 1:24 introduction to ROSTOCK 6:03 thank you Xaoc Devices 7:10 summary of the video 8:22 explaining audio delay (intro patch) 15:55 modulating length CV 19:27 modulating the clock 22:50 no clue about Leibniz? 25:30 clocks 27:40 conveyer belt analogy 31:08 loop and scramble 48:18 P.I.1 audio delay and feedback 1:00:49 P.I.2 JENA chaos loop 1:11:37 P.I.3 LIPSK gate sequencer 1:22:34 P.I.4. POCZDAM multi-tap 1:28:10 P.I.5 Turing Machine bonus 1:44:04 thank you for watching!
"This is ambient music with my Ensoniq Fizmo. All patches I created just on the fly during the recording session, and all stems I recorded live into the DAW.
I used for the recording the following FX chain:
Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2. Depending on the recorded track some FX are deactivated or tweaked.
The signal went through a Presonus StudioLive 16.0.2 into the PC via USB for recording. To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with a bit EQ and compression on some tracks and iZotope Ozone on the master track."
"Welcome to the soundset for a semi-modular system Moog Sound Studio: DFAM + Mother-32. 'DM Generative' is a collection of 25 patches. This genre of sound design is very popular inside modular culture, and Moog Sound Studio suggests a good set of features to enter this club. Controlled chaos and randomness, probability, non-repetitiveness, tempo break, pattern uniqueness, short and long sounds alternation, unexpected changes, silence and density, harmonic and fx-like tones, freaky splashes during a sequence - all these things are included in the soundset.
That was a hard work. Each patch took me up to 2 hours. I tried to find interesting combinations of settings and patching. Hope you will enjoy the results.
Generative timbre may be a good addition to (or a lead part of) ambient or techno tracks, jams and performances. You may also record fragments into your DAW or sampler, slice it to one-shots or make loops - you’ll get a unique material for further processing.
The main point of the soundset is the high level of interconnection. In this patchbook, the timbres of the synths are soldered and can’t exist separately: 🔸 they modulate each other with LFO and Envelopes 🔸 a sequence from one synth change parameters on the other one 🔸 gates and triggers interact to break predictable patterns 🔸 audio signals from VCOs may be used as modulation sources to create harmonies/intervals or - crazy experimental inharmonic tones 🔸 or they may be used just as audio sources sent to the other synth for processing with its different filter and envelope, giving them a 'second life’.
The soundset is presented in PDF format. Each page contains notes that explain how the patch works, what parameters are worth tweaking during playback, and how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn a lot about the synths and discover their true depth.
To recreate these patches, you need up to 15 patch cords.
There are audio examples of all patches inside the folder with the soundset. Audio examples for a patch are presented in three variants: DFAM only, M32 only, and both together.
The patches don't include Mother-32 patterns.
For the video demo, I added delay and reverb to the synths and background pads to put the timbres into a musical context.
