Make Noise Shared System | Ambient

video upload by Akihiko Matsumoto

"The Unpredictable Logic of Sound: Inside the Make Noise Sample Pack

Every patch on a Make Noise system is a small act of discovery. It does not begin with a plan, but with curiosity. The machine invites you to think in voltages, to listen to circuits as if they were alive. Out of that dialogue between control and chance, something unmistakably organic emerges.

Product link:
https://akihikomatsumoto.sellfy.store...

The Make Noise Modular Synth Sample Pack ver.7.5 was recorded entirely with the Shared System, Strega, and 0-Coast. Every waveform was shaped by hand, without presets, without automation. Each modulation, cross-feedback, and timing drift was allowed to evolve freely until it found its own balance.

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Synthesizing waveforms with a frequency divider - a sequel

video upload by organfairy

"I show how it sounds at 4:17 and play it with a keyboard at 5:50

Winter is getting closer so this is the time of year when I start building things. The first of my projects is a revisit to an old idea of synthesizing waveforms with a frequency divider. This time the waveform in question is a sine wave and some other waveforms derived from it.
The old idea is here: • Synthesizing waveforms with a frequency di... [below]
The project is quite a bit more complicated than the previous 'digital' waveform synthesizer as the sine wave is very..... well....wavy, as there are no straight lines like there is in the triangle and sawtooth waves. Therefore I had to take a different approach using a couple of 74LS138 3-8 decoders and an awfull lot of resistors.

The music is my attempt at playing something relaxing on my Wersi Prisma DX-5 organ."

Synthesizing waveforms with a frequency divider

video upload 8 years ago by organfairy

"The demo starts at 4:15.

The normal approach to generating waveforms is to start with a sawtooth wave and then fold it into a triangle wave and schmitt trigger it into a square wave. But it is also possible to synthesize the waveforms by means of a frequency divider and some logic gates. Off course the generated waveforms will be somewhat 'edgy' but that can probably be filtered out and some people might even find it usefull.

The music is something I made back in 2005 on the homemade synthesizers I had then. It's not the best piece I have made but I am still willing to take responsability for it :-)"

Oddment ODD-1 Build Update & Demos

video upload by oddment

Demos

video uploads by oddment

Playlist:
1. ODD-1 Overview: Playheads

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.

What’s Next?

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Serge’s 1979 ÷NCOM - It Compares, Counts, Waits, Fires and It Always Rises

video upload by Cinematic Laboratory

"I bought the #Serge #NCOM in the blind because a) it's the work of a living legend, b) I had no idea what it did, and c) after reading the manual and looking on YouTube I still had no idea how to use it in real life music.

The ÷NCOM is short for pulse divider (by N steps), a comparator (gate goes high where +IN is higher than -IN) and last but not least, a staircase CV is raised one semitone when the compare goes high and the max steps N is not reached. So now you know, and just like me, it still remains a mystery how it can play a role in modular music.

÷NCOM is from 1979, and quantized CV was rare, especially when it's derived from any two compared voltages. It's using two CMOS chips, but only 5 of 8 bits were used (step 0 to 31 = 32 values). So is it early digital? Yes, but without a CPU or code and state of the art precision - for 1979. Is it still relevant in 2025? I am not sure how many voltage comparators are around in eurorack, and you probably never needed one. A staircase CV waveform is simply a matter of running a ramp through a quantizer, and you may be able to use an END of RAMP event on a Maths clone. The ÷NCOM circuit is often used for rhythmic patches, and the staircase is super useful to make synchronized ramps you can use to open a filter or wavefolder. Not to mention arpeggios. It's the opposite of high-tech, it's low tech. A circuit you need to learn, discover and find use for. It was special in 1979, and today it's part of the joy of owning a true Serge module that can always do more than you think."

Roland SH-3

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

"A special early synth from Roland in overall great functional condition, with two exceptions note below. Cosmetically the control panel and keyboard area are in nice shape, but the case is pretty beat up, with bad latches, missing metal piping on one side, bent piping on the other side, and a missing power cord door. According to the previous owner, this unit actually went out on tour with a pop band in the 70's, and it shows. As you probably know, the SH-3 gave way to the more common SH-3A, with the most noticeable change being the switch from the SH-3's diode ladder filter to the the SH-3A's transistor ladder filter.

I've thoroughly tested all functions, pots, sliders, and jacks and here are the two functional issues I've observed:

The output and headphone jacks are scratchy and presumably need to be cleaned. It's easy to get an output cable or headphones seated and working, however you may have to twist the plugs in the jacks or reinsert them to get a good contact.
There is some bleed-through from the square/sine LFO that's present in the audio path, most noticeable at quieter volumes or at higher registers. It's not difficult to set up a sound where the bleed-through is either not noticeable or barely noticeable, particularly with everything running loud and with lower waveforms engaged. I have access to another SH-3 that has the same problem (but worse), so I suspect this may be a problem that Roland engineered out of later the SH-3A circuitry, but I can't be sure. Regardless, this is something you may want to attend to at some point should you find it bothersome.
In addition, the 8' "chorus" setting on this and the other SH-3 I've played is noticeably more intense than the SH-3A's I've played, so I suspect this is another feature that Roland tweaked when shifting to the SH-3A circuits.

I recently put $730 into having the synth partially serviced by a noted synth tech, which included:

Fixing an issue whereby the waveform sliders were interacting with each other and significant bleed-through of some waveforms was present.
Cleaning the keyboard and eliminating some squirrely notes and double triggering that had been present.
Replacing some capacitors.
Better securing base of the power cable.
Cleaning a scratchy sider.
So in selling this I'm mostly trying to break-even on those repairs, plus make a little to cover Reverb's fees."

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Evolving Riddle-4

video upload by Memetune Studio

"Yesterday a new part of the riddle arrived in the post - a beautiful Ensoniq SD1!

The SD1 is a Transwave Rompler workstation from 1990

Did you know that Ensoniq founder Bob Yannes invented the Rompler as we know it (and also the SID chip)? The very first one was called the ESQ1 and came out in 1986, the year before the Roland D50, and then all the other ones from Korg, Yamaha, Kawai, Emu, Alesis, and Kurzweil, each quickly developing their own digital rom chips. Actually Bob used single cycle waveforms stored in rom, but the basic structure and concept of the ESQ1 is what became the rompler. It had 3 simple rom-based VCOs that could be layered and sent through an analog filter. It is a wonderful, epoch defining synth - totally underrated IMO

It was enhanced and repackaged as the SQ80 in 1988 as a fully realised Rompler with more memory for the read-only samples

Their follow up was the VFX which added Transwave synthesis - a bit like the PPG wavetable idea where you can move through the waveform and modulate it. However the VFX had some reliability issues and was replaced a year later by the SD1 which also added a sequencer, and more voices and memory

And this is what we have here - mixed in with the other synths - Quadrasynth, TG33, Waldorf Microwave2 and the Roland JV1080

The reverbs are the Lexicon 224X and the Quantum Room Simulator

There is one part of the riddle left to make - I'll try and work on it tomorrow. Then I will release them all as an album - 'Evolving Riddles' by Benge 😀"

PeacockMedia Announcement of e-ther 'Advance', plus re-recording of a track using the new instrument

video upload by MIDI IN

"in which I talk about the features of the new e-ther, including quantisation, its own screen with selection of options on the device, display of the nearest note. As per the original e-ther it has MIDI out over USB or TRS (adaptable to traditional 5-pin DIN) and audio with selectable waveform.

0:00 Intro and announcement
0:25 quantisation
1:06 screen and on-device menu system
1:23 compatibility with classic e-ther - continuous mode
1:55 demo of quantisation to chromatic scale
2:42 display of nearest or target note
3:09 range
3:27 vibrato
3:45 scales / modes
4:16 connectivity
5:20 the track

e-ther's home page (for classic e-ther and the new Advance):
https://peacockmedia.software/e-ther"

Minuit SOLSTICE

video upload by DATABROTH

"Read my full review here: https://www.databroth.com/blog/solsti..."

00:00 Wavetables
01:43 Foley
03:30 Piano
04:18 Glitch

Turn any sample into an explorable landscape.

Solstice makes any sample into a unique, playable map, revealing hidden textures within your sounds. Made with ambient, experimental, and aleatoric music in mind, but versatile enough for any genre.

60 factory samples + 65 factory presets

Solstice comes with factory samples and presets, categorized and tagged. Filter by mode, style, or favorites. Every preset remembers its exact map position, ready to play.

Import your own samples

Drop your own samples in Solstice to generate their unique geography. Bright textures find their neighbours, transients drift to the edges, sustained tones form dense regions. Every imported sample is stored in user library and instantly accessible.

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Korg SB-100 Synthe-Bass SN 750076

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

"I bought this from analogia.pl (i.e., Maciej Polak, check out his album 1977!) in 2022, serviced and converted to North American power. This synth is a little limited, but it sounds great and the portability can't be beat. It also has two features that (as far as I know) are unique to this model among early Korgs: the "bender" buttons and the "Phaser" waveform. As far as I can tell "Phaser" is a very nicely dialed-in pulse width modulation that sounds especially nice in the lower registers.

No major issues in testing, but two notes:

The output jack was a little intermittent when I started testing, but after working a 1/4" plug in and out of it the signal is solid. Guessing it was a little dirty and could eventually use a cleaning if you're handy. The "Traveller" slider is a little stiff around the center of its travel. All audio passes great, so this is really a "feel" thing and something I've also noticed on some (but not all) other early Korgs. In great cosmetic shape overall, but there are many little blemishes and signs of wear, which I tried my best to capture in the photos."

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Similis - self sequenced

video upload by DecadeBridge

"Similis is a lo-fi synth that has several different patches. Here it is set to run a random sequence over a major or minor scale. This preset can be switched between 1 or 2 oscillators, each playing a random note independent of each other.

Pot A/CV in A sets the root note.
Pot B/CV in B sets the range of notes of the chosen scale.
Pot C/CV in C sets the rate of the sequencer (controlled using an envelope generator in this example)
Switch A sets the waveform (Sine, Saw or Square)
Switch B has 3 different settings (Stop the sequencer playback on its current note, run the sequencer, run the sequencer and add an additional synth voice.)
Switch C sets the scale."

https://decadebridge.etsy.com/uk/

Similis - Detune

video upload by DecadeBridge

"Similis is a lo-fi/chiptune style synth consisting of several different presets.
This Similis patch stacks 3 oscillators and detunes them against each other.

Pot A/CV in A controls the root note.

Pot B/CV in B controls the detune of the other 2 oscillators.
Pot C/CV in C controls the level of the 2 additional oscillators.
The root note pitch is being controlled by a random scale from Pam's Pro Workout.
Here an envelope generator is controlling the level of the detuned oscillators through CV in C.
Switches A B and C change each oscillators waveform (sine, saw, square)"

Minimal Electronic w/ Prophet-10, Moog One, : Arcadia 2025-10-16 by atnr

video upload by atnr

"A piece created with ‪@SequentialLLC‬ Prophet-10, ‪@MoogSynthesizers‬ Moog One, ‪@NordKeyboards‬ Nord Lead, and ‪@YamahaSynthsOfficial‬ CP-88 — a work of minimal music built from overlapping sequenced phrases that gradually evolve in tone and texture.

All synthesizers are played via MIDI sequences from Ableton Live.

On the Prophet-10, the filter cutoff and resonance are manually adjusted, with the output processed through the ‪@strymon‬ blueSky for reverb.

The Moog One’s EG Amount and waveform Mix parameters are manipulated during playback.

The Nord Lead is processed through the ‪@gfisys‬ Specular Tempus for rich reverb.

At the end of the piece, a deep reverb is added across the entire mix using ‪@ValhallaDSP‬ Valhalla Shimmer in the DAW."

Moog MuSonics Sonic V 1971/72 - Original SN 30

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

"All original parts and finish. Works perfectly. Only missing 3 slider covers on master and X/Y waveform generator slides. Slides work perfectly."

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10/9/25 Pasco Scientific 9301 & 9302 + Yamaha EM-100

video upload by Cfpp0

"10/9/25 Pasco Scientific 9301 & 9302 + Yamaha EM-100

Some lowpass filtration on the Waveform Analyzer. The left 9301 dual function generator goes from DSB to FM to Gate. The spring reverb is the internal tank on the Yamaha EM-100 mixer."

JP-8000 Emulator by DSP56300 in the Works

This one is in via an anonymous reader.

You might be familiar with DSP56300's Waldorf, Access, and Clavia/Nord emulations from previous posts. The emulations stand out as they are ports of the original code running on emulations of the motorola DSP56300 chip. It looks like they will be tackling the Roland JP-8000/8080 next with the JE-8086, however, the JP-8000 runs on a custom Toshiba DSP chip, not Motorola. They are branching out.

via Google AI: "The Roland JP-8000 synthesizer contains a custom Toshiba-made ESP2 chip for its digital signal processing, which was a key component for its virtual analog (VA) synthesis and the creation of its iconic Supersaw waveform. The ESP2 chip was a general-purpose DSP developed by Toshiba and used in several other Roland and Boss products of the era."

FAC Polyflo New AUv3 Plugin

video upload by Fred Anton Corvest

"FAC Polyflo is a new AUv3 plugin built for modulating and sequencing MIDI instruments and modular gear via control voltage.

It outputs both MIDI and analog CV simultaneously, making it a powerful tool for hybrid setups that combine digital and analog gear.

Universal purchase for iOS, macOS, and Vision Pro | Pre-order now at 50% off – $4.99 until October 11| Launch price: $6.99 → Final price: $9.99 (USD)

This release could be a great fit for your audience interested in modular, AUv3 plugins, and hybrid setups.

Learn more at https://fredantoncorvest.com/FAC_Poly..."

AUv3 plugin to modulate and sequence MIDI instruments and modular hardware
Outputs MIDI and analog CV simultaneously for integrated hybrid setups
Fully functional in software-only environments with full MIDI support
Converts LFOs, MIDI notes, pitch, and control changes into control voltages
Includes two LFO generators with random spline, cross-modulation and syncing
Integrated envelope follower to track audio input or sidechain signal
Six FLO(W) processors for combining and shaping signals with math and logic
Each FLO supports 18 inputs with individual polarity, divider and multiplier
Multi-out support, built-in waveform viewer, Audio FX, and MIDI FX
Advanced Responsive Design, portrait and landscape views
Universal Purchase: AUv3 for iOS (iPad/iPhone), macOS and Vision Pro

Where Modulation Connects

FAC Polyflo is an AUv3 plugin for modulating and sequencing MIDI instruments and modular gear via control voltage. It outputs MIDI and analog CV simultaneously, making it well-suited for hybrid setups that combine digital and analog equipment.

The plugin includes two LFO generators offering 10 waveforms, including classic shapes and random spline, with support for cross-modulation and syncing. It also features an envelope follower that tracks audio FX input or an external sidechain. The generated signals, together with the host clock and MIDI input, are fed into six independent FLO(W) processors.

These processors combine, shape, and route inputs using math operations, conditional logic, and comparators. Each FLO includes individual polarity, division, and multiplication controls, providing deep and flexible modulation that balances chaotic creativity with precise timing.

Each FLO processor output is connected to its own output bus, enabling easy integration with hardware via DC-coupled audio interfaces like the Expert Sleepers ES-9. For simpler setups, FLO outputs can be routed to the stereo output. FAC Polyflo can also convert MIDI notes, pitch, and control changes into control voltages, making it a powerful MIDI-to-CV solution.

If you prefer to work exclusively with software, the plugin runs smoothly in software-only environments with full MIDI support, making it equally suited for purely digital workflows.

FAC Polyflo works as both an Audio Unit FX and MIDI FX, featuring a clean, touch-optimized interface with precise control and waveform visualization. It’s available as an AUv3 for iOS (iPad/iPhone), macOS, and Vision Pro, and requires a compatible AUv3 host app to run.

Moog Polymoog 203a 1976 Polyphonic Vintage String Synthesizer w/ Model 285A Polypedal Controller

Note: links to listings are affiliate links for which the site may be compensated.

via this Reverb listing

Pics of the inside below.

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Thephonoloop's themkI

video uploads by THEPHONOLOOP

Playlist:

1. themkI | An exploration of a 70s classic
2. themkI | Overview
3. themkI | Presets playthrough

Press release follows:


Thephonoloop tweaks themkI as deeply-sampled, expressive VI exploring electromechanical keyboard classic’s imperfections with colourful Version 1.1 update


KATOWICE, POLAND: Thephonoloop is proud to announce that it has tweaked themkI — already available as a deeply-sampled, expressive VI (virtual instrument) for Native Instruments’ KONTAKT PLAYER platform housed in an MPE (MIDI Polyphonic Expression) compatible engine built for discovery and experimentation, exploring the beautiful imperfections of a Seventies-vintage electromechanical keyboard classic — with a colourful Version 1.1 update introducing sharper contrast for better visibility alongside new GUI (Graphical User Interface) colour options for customising its look, as of October 7…

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PlantsSystem-Ignition

video upload by plantssystem

""Ignition" PlantsSystem latest track, 'Ignition,' is a purely electronic sound created entirely on the tracker-based DAW Renoise. The soundscape born from this stoic production environment weaves together precise rhythms and three-dimensional textures, creating a simple yet deeply immersive experience.
The refined sound sequences in 'Ignition' will transport listeners into unexplored sonic territory. Dive in and experience it for yourself.
#renoise #waveform #generator"

New Redshift 6 - Firmware 1.4 Update

video upload by Supercritical Synthesizers

"Hear our new presets for Redshift 6 – no talking, just pure playing. These presets showcase a wide variety of sounds, from classic analog poly-synth layer splits to lush single-layer textures and inspiring one-key wonders.

All sounds and rhythms come directly from the Redshift 6, built using its arpeggiator and LFOs.

00:00 - CLUB HELSINKI
01:18 - STRING QUARTET
02:40 - SYNTH CAST NEWS
03:50 - SOLITUDE
04:54 - ZERO SUM
05:50 - CLUB TAMPERE
06:56 - SYNCED SAW PAD
07:42 - DRIVE LFO PLUCK
08:24 - PACIFIC RAINDROP
09:30 - AMBIENT SKIES
10:09 - CLUB SEINAJOKI
11:04 - CLUB TURKU
12:31 - BEYOND SUNSET

The Redshift 6 is a 6-voice analog polysynth, but with 16 oscillators per voice it goes far beyond the capabilities of a traditional 6-voice instrument. Each voice can also be played paraphonically, significantly extending the overall polyphony. In addition, each of the 6 parts has its own dedicated arpeggiator.

External FX used in this demo: SRE330, Meris Mercury 7, Meris Polymoon, Eventide H9.

The Firmware 1.4 update brings MPE, an arpeggiator, Part Copy/Paste, and more.

You can find the firmware 1.4 and more info about the Redshift 6 synthesizer on our website: https://supercriticalsynthesizers.com"
REDSHIFT 6 FIRMWARE VERSION 1.4

ADDED
• MPE
• Arpeggiator
• Multi-part editing for multitimbral patches
• New oscillator waveform variants that reset on incoming note
• Envelopes now have a Reset parameter
• LFOs now have a Sample & Hold waveform

IMPROVEMENTS
• LFO range is now 0.01-1000Hz, up from 0.1-100Hz
• 18 new factory presets

FIXED
• Fixed all known bugs

NoisyFruitsLab DCO - Dual Wavetable Oscillator for Eurorack Synthesizer

video upload by NoisyFruitsLab



"DCO stands for 'Detox Controlled Oscillator' and is a dual wavetable sound source for creating big things on a small footprint

Designed for stereo or duophonic fun as giant wavetable for each oscillator, containing 30 waveforms for each.

With an own output for each oscillator and an accurate frequency range from 0.01Hz to around 10KHz it´s an excellent audio source, LFO and reference as well.

CV control for each wavetable (-5V – +5V)
Shared 1V / octave input, covering 10 octaves (-5V – +5V), FM friendly

Bipolar LEDs as negative and positive indicators.

Frequency and wavetable control for each oscillator with smooth endless rotary encoders including buttons.

Covering fine or stepped frequency adjustments for detuning, harmonizing and chordifying.

Blend smoothly through a giant wavetable with 30 different waveforms for each oscillator with the encoders or over CV.

Switch between sync modes, so oscillator 2 get´s independant cv control over waveblending and frequency, or choose the “no CV” mode for highly accurate reference frequencies.

User friendly 11-point calibration mode.

Update friendly and designed as partially open source project and development platform."

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