"Here's a high energy modular synth performance by Chief Noisemaker Stephen McCaul.
The bottom case is a six voice case with Incus Iteritas Alia (2), Debel Iteritas Alia, Tymp Legio, Manis Iteritas Alia, Virt Iter Legio + Ampla Legio.
There is a Librae Legio for the percussion submix (paralleling the main mix) and an Electus Versio on a send. The rhythm sequencing is from an experimental prototype that isn't really product worthy.
Pitch sequencing comes from Opp Ned. And the Xer Mixa mixer ties it all together.
The top case is an effects rig for another project but i used a Fala Versio and a Yester Versio in that case for some additional effects.
"This scarce and unique piece of German ingenuity and (over?) engineering has been tested to the best of our ability. Due to its unique architecture (i.e. - confusing layout, features, and programming), we can only vouch 100% for complete function of the screen, back lights, buttons, faders, and sounds/voices, etc.
We've included a video link of the actual unit for sale below.
It has a fat, punchy sound with a ton of retro character and a few unique and quirky voices. Once in a while we think there's a faint intermittent 'phantom' background noise?
The "SPEED" fader works but is missing the knob. Also, a handful of scratches, nicks, and abrasions are present on all surfaces - nothing serious. The power cable is safe and stable but has areas of electrical tape along its length - we're not sure why. Probably not splits or exposed wire but we did not remove the tape to find out.
"Here's a high energy modular synth performance by Chief Noisemaker Stephen McCaul.
The bottom case is a six voice case with Incus Iteritas Alia (2), Debel Iteritas Alia, Tymp Legio, Manis Iteritas Alia, Virt Iter Legio + Ampla Legio.
There is a Librae Legio for the percussion submix (paralleling the main mix) and an Electus Versio on a send. The rhythm sequencing is from an experimental prototype that isn't really product worthy.
Pitch sequencing comes from Opp Ned. And the Xer Mixa mixer ties it all together.
The top case is an effects rig for another project but i used a Fala Versio and a Yester Versio in that case for some additional effects."
"The Teenage Engineering is an affordable sampler with 64 MB of memory. In this video I'd like to focus on sampling found sounds, noise boxes and small modular setups. I'll start by formatting the internal memory (FMT) which is a great way to really get to know the KO II without going through all features first. This is not a tutorial. If you want to learn how it works, please visit @SONWU and check out his series which also includes the firmware update.
It's a great machine to stay away from the DAW but also a good 'brain' for sequencing external gear with MIDI, and for turning modular mono sounds into pads and textures. Another cool trick is to sample a chord under each pad, so you can play all kinds of complicated chord progressions with one finger."
"We are integrating even more gear by exploring how the Expression input on Batverb can be routed to suit your needs best, and patching it up with external modulators.
In this patch, the ADSR envelope from Quantus Trajecta modulates the Expression input, which is mapped to Batverb’s Regen control.
"Here's an intense modular synth performance by Chief Noisemaker Stephen McCaul.
The bottom case is a six voice case with Incus Iteritas Alia (2), Debel Iteritas Alia, Tymp Legio, Manis Iteritas Alia, Virt Iter Legio + Ampla Legio.
There is a Librae Legio for the percussion submix (paralleling the main mix) and an Electus Versio on a send. The rhythm sequencing is from an experimental prototype that isn't really product worthy.
Pitch sequencing comes from Opp Ned. And the Xer Mixa mixer ties it all together.
The top case is an effects rig for another project but i used a Fala Versio and a Yester Versio in that case for some additional effects."
"This is the first video in a new series exploring the University of Iowa’s Electronic Music Studio. In addition to presenting its historic instruments (including a 1968 Moog IIIP with custom-made modules), and the famous musicians who have used them, these videos will extrapolate ideas to use in your own modular systems. This episode examines a unique random sequencer that was developed in 1974 by Paul Dingman, an electrical engineering student at Iowa. It then shows how it might be recreated using the third lane ('time') on Make Noise’s 0-Ctrl. NOTE: several other Eurorack sequencers also have this feature, as indeed does the Moog’s own 960 sequential controller; alternatively, use an LFO to clock any sequencer and patch the sequencer’s second lane/channel (if it has one) back into that LFO’s frequency input.
0:00 University of Iowa's Electronic Music Studio
0:42 Introducing Dingman's Probability Controller
1:58 Demonstrating the Probability Controller
3:50 Recreating the Probability Controller in Eurorack
My new album:
CREDITS
Thanks to Paul Dingman for answering my questions over Zoom.
Film sequences:
'Atom Smashers' (Encyclopaedia Britannica Films in collaboration with the Division of the Physical Sciences and the Institute of Nuclear Studies at the University of Chicago, 1952)
'The Meaning of Time In Science' (Encyclopaedia Britannica Films, d. Kent Smith, 1973); both archive.org
Music: Peter Tod Lewis, 'Gestes II' (1974), from the Mnemothèque Internationale des Arts Electroacoustiques (University of North Texas Music Library). Program notes for an EMS concert on April 13, 1979, described “Gestes II” as “the generation of musical gestures through coordinated operation of sequential controllers programmed to produce a large but finite collection of voltages, controlling variously oscillators, amplifiers, and filters” (University of Iowa Music Library)."
"Integrating pedals into your Eurorack system is easier than you think. Explore the differences between guitar, line, and Eurorack levels, how to patch end-of-chain effects, and ways to use pedals and send effects with your mixer.
Our blog post breaks down the process step by step, making hybrid setups a breeze. Check it out on Noise Engineering's website here: https://noiseengineering.us/blogs/loq..."
In this video, Today, we’ll explore some generative melodic patches using the Confundo Funkidos rhythm crossfader. We’ll use Debel Iteritas Alia as the main voice and Confundo Funkidos to shape its rhythms. Confundo will send trigger patterns to Debel for its envelope, pitch, and two CV inputs."
0:00 Manis into Desmodus Versio
1:09 Hello Batverb
1:55 Infinite Footswitch
3:00 Doom and Shimmer
3:42 Grit Distortion
5:18 Adding in BIA and Debel
"Check out POB's dark and ethereal modular synth set putting the Manis voice into Desmodus Versio. After patching through Nive Grad to change levels, our angry signal gets to Batverb, our stereo tail generator.
Voice 1: Manis Iteritas Alia, sequenced by Gamut Repetitor generative sequencer, going through Desmodus Versio, before being sent through Nive Grad to Batverb.
Voice 2: Debel Iteritas Alia, through Roucha Legio stereo filter, then through Fala Versio, which is being LFO-modulated by Opp Ned.
Voice 3: Basimilus Iteritas Alia, being sequenced by Bin Seq.
Clocked with Horologic Solum.
Modules:
Nive Grad
Horologic Solum
Gamut Repetitor
Debel Iteritas Alia
Roucha Legio
Fala Versio
Muta Jovis
Desmodus Versio
Basimilus Iteritas Alia
Manis Iteritas Alia
Opp Ned
Bin Seq
Xer Dualis
If you’re a fan of our Eurorack products, you may notice some similarities between Batverb and Desmodus Versio. And it’s true: they share some similarly named controls, and a lot of their respective inspiration came from the same place. However, Batverb shares none of its code with Desmodus. It was completely written from the ground up as an entirely new product.
We’re close to Desmodus’s five-year anniversary, and in that time we’ve learned a lot about reverb. Desmodus is still one of our favorite products we’ve ever released, but the knowledge we’ve gained allowed us to design Batverb to work particularly well with dynamic, polyphonic instruments like guitars as well as synths and the occasional saxophone. One of the first tests we did in early Batverb R&D was to plug a guitar into Desmodus Versio. It sounded nice, but, just like Desmodus was designed to play off of Eurorack’s strengths, we knew we wanted things to be different for a guitar-focussed product.
Listen to Batverb stereo reverb pedal with modular and hardware synths: • Listen to Batverb stereo reverb pedal... [2nd video here]
One major change between the products is that Batverb uses no delay-line modulation, resulting in a sound that’s more transparent – if you want it to be. Timbre shaping is done with five parameters: Hi Pass and Lo Pass allow you to filter the reverb tail into whatever space you’d like it to fill, Doom and Shimmer add low- and high-end content, and Grit makes things as clean or crunchy as you’d like.
Batverb is the stereo reverb that dreams are made of: less of a room simulator and more of a tail generating pedal, Batverb is an instrument in its own right.
Taking inspiration from our popular tail-generating modules, Batverb brings reverberation and delay to a whole new level with extensive control of timbre, echoes, and dynamics.
Start by setting a predelay time and adjusting Regen to set the length of the tail, from a short slapback-style echo to an infinite wall of reverberation. A variety of unique controls make Batverb sing in any signal chain:
Doom adds in chaotic suboctaves, and Shimmer brings in haunting overtones. With each on its own control, go wild and have both at the same time!
Low and high damping settings for the reverb tank
Add filtering and harmonics to reverb tails
Built-in saturation can apply to only the wet signal or the whole output Includes onboard dry/wet Blend control and input- and output-gain parameters
Unique Duck switch controls the reverb’s behavior: duck out of the way of an input signal, or match the dynamics of your playing, similar to a gated reverb
Create instant atmospheres with reverb-freezing Hold footswitch Route the expression input can to any parameter on the pedal
Store and recall 16 different presets and recall them in response to MIDI program-change messages.
Exploring and sharing engaging ideas in sound, music, and synthesis • Eurorack, 5U • Guitar Pedals • VST, AU, AAX plugins • Reason Rack Extensions"
Press release follows:
Noise Engineering announces Batverb, an experimental reverb, delay, and infinite-tail generator
Los Angeles, CA — Noise Engineering, known for their expansive selection of synthesizer effects and sound sources, announces Batverb, a distinctive stereo reverb with a twist.
Noise Engineering’s take on reverb has always been innovative, creating effects that are as much instruments as they are processors. Batverb is no exception: parameters allow the resulting effects to morph organically from slapback delays to infinite reverb tails.
“Batverb was inspired by our Desmodus Versio module, but when we tried to bring the Desmodus experience to guitar, we realized quickly that we would need to rethink the approach. Batverb shares concepts with Desmodus but shares zero code: the entire thing was redesigned from the ground up, with the dynamics and tonality of guitar at the forefront,” said Stephen McCaul, Chief Noisemaker at Noise Engineering. Kris Kaiser who is the Doer of Many Things at the small company added, “Working with guitar was key, but what sounds great on guitar also works really well for loads of other instruments.” Indeed, Batverb’s stereo I/O and MIDI integration make it a perfect choice for a multitude of instruments.
Kaiser continued, “I like to say Batverb isn’t your father’s reverb because it has such unique features.” She’s not wrong. Along with predelay/delay Time and Regen controls, Batverb includes a number of parameters for shaping the tone of the reverb itself. The Grit switch adds a unique harmonic distortion to the tail or the whole mix, and the Doom and Shimmer controls add in subharmonics and overtones. Batverb also has onboard adjustable highpass and lowpass filters to shape the tone to taste.
Batverb’s configurable Bypass footswitch can cut the reverb tail immediately, or simply mute the input to the reverb processor, allowing the tail to ring out while you play. The Infinite footswitch mutes the input to the reverb tank while maximizing the feedback for an infinite atmosphere.
The innovative Duck switch uses the dynamics of your playing to shape the reverb tail. Use the right setting to duck the reverb out of the way of your guitar’s tone, or the left setting to make the reverb’s dynamics match your guitar’s.
Batverb also stores/recalls up to 16 presets with MIDI Program Change messages. Batverb features a convenient MIDI thru jack, so it’s easy to patch into your MIDI control chain. In addition, all parameters can also be controlled via MIDI for automation and remote control from a DAW or configurable controllers.
Noise Engineering is a member of 1% for the Planet and has been donating a percentage of all sales to environmental conservation. Proceeds from Batverb will benefit the organization Bat Conservation International.
Batverb is available for preorder with MSRP of $499. It starts shipping March 13 from noiseengineering.us and retailers worldwide.
Batverb was designed and built in sunny Southern California.
One of the greatly expanded features on the new Confundo Funkidos is Burn. The original Confundo Funkitus had a simple button that was all-or-nothing when it came to fills, but we added a CV-controllable potentiometer and added a mute behavior for Burn when we reimagined the Funkidos.
Watch the full Confundo Funkidos demo video here:
• Confundo Funkidos four-channel rhythm... [posted here]
See how the new Accent outputs work here:
• Confundo Funkidos: How Accent outputs... [posted here]
Confundo Funkidos is a rhythm crossfader and mute utility. Patch two pairs of rhythms to the left and right inputs, then use the CV-controllable crossfader and three Curve algorithms to fade between them and combine them in different ways. Each channel has a mute switch which can be used to bring a voice in and out of a patch at will. Tap the Burn button for some instant fills, and your percussion performances will never be the same."
"I did a comparison of some formant filters a while back ( • Eurorack Formant Filter comparison [posted here] ), and since then have acquired a few more, so time for another comparison.
This one includes the 2hp vowel, which isn't actually a filter, and the Noise Engineering Fala Versio, which isn't trying to be a talk box.
So it's all formant-y, but not strictly filters
Source audio is (for the filters) an Acid Rain Chainsaw VCO. Modulation courtesy of Zadar.
00:00 Intro
00:20 2hp Vowel
04:08 MotoMouth
08:12 Fala Versio"
"We talk to Patrick O'Brien of Noise Engineering about three of their latest Eurorack modules. Noise Engineering is known for creating quirky, unique and wonderful digitally-based modules."
