Click the auction link on top when you get there for additional listings.
"Roland System 700 Keyboard Controller model 701A with the 6-pin DIN cable and original System 700 brochure. Block 2 contains the 61-key (5 octave) two-voice keyboard with a controller panel which offers: pitch control, portamento time with separate on/off switch, pitch bender with center off click stop, and a pitch bend range switch (off, 0.1v, 1v, 5v). All connections for single voice operation are made through the DIN patch cord. Rear panel also contains additional output jacks for: keyboard cv 1 and cv2 (second voice), gate out, key trigger out, and bend control voltage out. If you own the main console or lab system without keyboard, this is your chance to make is complete. I'm pretty sure that the keyboard works also with the Roland 100M cabinets, but I have not tested this."
"A sequencer patch using PRECISION VOLTAGES and CHANCE DELAY modules for probability-based transposing of steps. Also featuring sound from a single VCO and the SONIC XV filter & wave folder.
Video & Performance by @DreamsOfWires
PATCH BREAKDOWN: A Doepfer Mini Sequencer is playing a simple 5-step sequence. The clock is from the DUAL LFO + VCA module, which is also triggering an DH-ADSR envelope generator (connected to audio VCA), and the SAMPLE HOLD & SLEW module.
Because the sequencer gates aren't being used to trigger the envelope generator, I can use them elsewhere, and on the Mini Sequencer they can be turned off per step, so instead I am sending these gates to the PRECISION VOLTAGES (Gate A). This means that whenever a gate signal is received, Precision Voltages will activate, shifting the pitch of connected VCOs by the selected amount.
To add variety to this, I am first running the gates through the CHANCE DELAY, with which I can adjust the chance/probability of the gates being passed through to the Precision Voltages, or ignored. This means that the transposed notes will only randomly occur, based on the position of the 'Chance' pot, here at 50%.
Precision Voltages is dual channel (A & B), but I'm using the combined A + B output, so that any semitone or octave changes that I make to channel B will be combined with those on channel A, which is the only channel being switched on or off by the incoming gates. This means I can transpose the whole sequence by the same selected semitone and octave values (here plus or minus 5 semitones) and still have the selected sequencer notes randomly transposing by the same interval.
As for the sound - just a single triangle wave into the SONIC XV Diode Ladder Filter, manually adding the wave folder to create a much more interesting timbre, and with the clocked SAMPLE HOLD & SLEW module randomly modulating the filter frequency, via the DUAL LFO\s built-in VCA, which is slowly modulating the level of the Sample and Hold from strong to nothing.
Mixed on a @solidstatelogic BigSix with @vermonagear DSR-3 Dual/Stereo (real) Spring Reverb. Both cases powered by the Konstant Lab StrongPWR, with small case using a Polyend Anywhere USB PSU, powered by the USB output of the StrongPWR. Clear acrylic Eurorack case by CASA Modular, Japan."
"The Ballista Blast is Shakmat Modular's hybrid digital/analog modular voice, squeezing a remarkably deep feature set into just 12HP. In this video, I walk through all three engines — Classic, Wavetable, and FM — and show you what this module is really capable of.
The Classic engine layers saw and square waves through two switchable analog VCFs (acid or bubbly, your call), a VCA, and an onboard distortion unit. The Wavetable engine runs a customisable wavetable set through that same analog chain, bridging digital texture with analog warmth. And the FM engine brings original multi-operator algorithms — up to four operators per patch — controlled via three macro knobs that keep complex FM territory surprisingly playable.
CORRECTION: The FM engine is actually a lot more complex than I describe in the video, and can do more than 2-op FM depending on the algorithm you choose.
Tying it all together: an onboard envelope, an assignable random generator, velocity and gate inputs, and nearly parameter-wide modulation assignment.
Timeline:
00:00 Introduction
00:50 Walk through of Ballista Blast
03:46 Pitch locking
04:31 Filter and Distortion modes
05:12 Built-in VCA
06:17 Wavetable oscillator
08:33 FM engine
09:52 Dubby FM chords example
10:55 Drone example
11:42 Modulation matrix
13:50 LFO mode on Expander
16:21 Randomising to change up sounds
18:59 Generate random patches for inspiration
21:01 Conclusions
21:45 Closing jam"
"Cuisine is a performance sequencer built around live interaction rather than step-by-step programming.
This video starts with an empty pattern and builds a sequence from scratch. Gate length, loop range and pattern changes remain flexible, while performance mode allows real-time edits that can be recorded once they feel right.
Cuisine is not about randomness. It is about relationships between steps, timing and control. A simple sequence goes a long way.
Sound source in this video is the Critter & Guitari Pocket Piano 201 via MIDI.
"Evolution of the original Phonec Synthesizer, retaining it's distinctive character while introducing new and expanded features with an improved workflow.
Inspired by the remnants of the video age, Phonec3 embraces the haunting qualities of decay and imperfection, exploring the various facets of aging sound. Drifting tones, fragile textures, faded melodies, distant atmospheres and irregular harmonics form a palette that feels organic and evolving. Aside from it's quirky nature, Phonec3 is a unique and powerful synthesizer, capable of producing a wide range of sounds in the realm of vintage analogue tones, lo-fi synthscapes, ethereal ambiance, minimal techno sequences, retro leads and hard hitting synth basses. It's intuitive GUI attempts to strike a balance between form and function, making it a very practical tool that can be creatively inspiring to work with."
Features: Dual Oscillators with various combinations: Mix, Ring, X-wave, logic. Sub Oscillator for beefing up the low end. Cascading lowpass filter with 4 stages + Milk & Acid Filters. Post Highpass Filter. Pre/Post Filter Distortion. 3-Stage Filter Separation. Melt: A unique feature that adds instant character to any patch with drifting pitch and amplitude fluctuations. Extended Melt functionality with extra tweaks under the hood. Arpeggiator that works in conjunction with a set of Note & Modulation Sequencers. Note Sequencer: 16-step pattern sequencer for pitch ranging -/+ one octave. Scale Mode: Locks the Note Sequencer to scale for snapping to harmony. Pitch Wheel Quantizer for note-stepped pitch bending that can snap to Scale Mode. Modulation Sequencer: 16-step pattern sequencer for amplitude and filter cutoff. 3 LFOs: BPM or Manual modes w/ Keytracking, and Note Retrigger. HFO (High Frequency Oscillator): FM style audio-rate modulator. 3 Modulation Envelopes for several additional parameters. Aftertouch and Modwheel control of multiple parameters at once. On-board FX include: EQ: A 3-Band Parametric Equalizer. Chorus: A lush chorus with multi-voice stereo spread. Echo: A dub-style delay unit with bandpass filter. Pan-Tracking. Patch Randomization of Sub-sections. Sub-presets: load/save settings for sub sections Preset Import from Phonec2 (bank import coming soon) Custom GUI scaling. Intuitive patch management system. Several presets to get you started.
Iridium Desktop MK2 is a new generation of the highly acclaimed Iridium Desktop synthesizer introduced in 2020 by Waldorf Music, and since then used by countless artists and sound designers. After six years the time has come to advance the sonic success story even further.
Based on the legendary multi-engine design of the Quantum & Iridium product line, the MK2 innovates even further, thus fitting perfectly into Waldorf’s forward-looking synthesizer design philosophy.
The MK2 features a new and fresh design, and an improved CPU board with more RAM and flash storage allowing for more sample storage and opening a whole new world of synthesis capabilities.
Per-Note-Parameter-Locks
(ft. Aphex Twin)
Only on the MK2 you can enjoy a very special feature called Per-Note-Parameter-Locks which is the result of a collaboration with legendary Aphex Twin, a long-term Iridium Desktop user.
With this feature, each of the 128 notes can be assigned up to 16 individual parameter variations by simply holding a note and turning knobs. This system allows each note to have a different set of parameters. You can even change the synthesis mode of oscillators for each note or change effect parameters. It feels like adding a whole new dimension to your music. Per-Note-Parameter-Locks are saved with each patch and can be inspected and edited on a dedicated page.
Seeds – The Sixth Synthesis Sense
The added RAM further allows a new sixth synthesis method for each of the three oscillators. Inspired by wavetable synthesis, in which each wavetable represents a timbral journey, Waldorf has found a way to base these timbral journeys not only on static waveforms, but also to dynamically synthesize each waypoint from sub-oscillators we called “Seeds”. These can be controlled and recombined using techniques like ring modulation and frequency modulation, and enriched with noise and other non-pitched material. While we provide, similarly to wavetables, a set of predefined timbral journeys, you can also edit and create your own.
Protein’s “Flavour” Knob
The new knob called “Flavour” adds sonic liveliness using our new concept of micro-variations in timing, timbre, pitch, and a whole set of additional parameters we recently introduced with the Protein synthesizer.
More Memory, Layers & Sound
With the increased memory capacity, you can change the multi-timbral layer count from 2 to 4. In addition to layered and split modes, the new MK2 also features more advanced multi-timbral modes, such as round-robin and random-robin. These additions bring greater timbral richness and variety, letting you build deep and complex sonic landscapes. A dream come true for all sound designers, sonic explorers and cinematic artists!
Iridium & Quantum Update 4.0
A general update of the Iridium and Quantum operating system will be available soon.
Version 4.0 provides some of the new features for all existing Quantum and Iridium models like the Mutator patch randomizer introduced in the Microwave plugin, a new polyphonic arpeggiator, new microtonal features saved in patches and other features.
Connectivity Stereo Audio Out: 2x TS jacks Stereo Audio In: 2x TS jacks Headphones TRS output with level control DIN MIDI In, Out & Thru USB Type B (device) for MIDI connection to computer USB Type A (host) for storage media and MIDI devices MIDI 2.0 compatible MicroSD slot 4 high-resolution CV Inputs which can be used as modulation sources in the Mod-Matrix Analog clock In & Out with clock divider settings Analog gate and start inputs Kensington® compatible lock
0:00 The most powerful synthesizer on the market
0:22 3D Wavetable synthesis
0:50 Resynthesis
1:40 Granular synthesis
2:18 Vocoder
2:53 Additive synthesis
3:36 Supersaw / Hypersaw
4:21 FM synthesis
5:01 Samples
5:33 Subtractive 7 Analog
6:12 Physical modeling
6:39 Waveshaping
7:02 PWM
7:32 Phase Distorion
Icarus is the most powerful synthesizer on the market. The award-winning audio engine offers a huge sonic range, true high-end sound quality, and the ability to create sounds that are impossible with other synths. The exceptionally versatile audio engine is capable of creating all important synthesizer sounds in high-end quality. Icarus is capable of over 30 (!) different synthesis methods, which can be combined:
3D Wavetables
3D Wavetable Synthesis cn create sounds impossible with other synthesizers and opens up a new level of dynamic expression. Classic wavetable synthesis only allows you to cross-fade waveforms. We have extended it with an extra 'morph dimension'. You can use 54 morph modes to further shape and modulate the sound. The morph modes are not limited to traditional waveshaping methods. We have also included a wide range of innovative and exclusive modes that are not available from other companies. This results in a wide range of unique sounds that cannot be produced by other synthesizers.
Resynthesis
Icarus comes with the most powerful and advanced re-synthesis engine on the market. Unlike competing products, it always delivers good results. With Icarus, anyone can create amazing sounds quickly and easily. Icarus' innovative resynthesis can rebuild sounds with a single mouse click! Just click this button, select a wav file, and Icarus will automatically create a patch that sounds like the original. You can further shape your sound with morphing, time-stretching, filters, effects, or any other module.
"🧬 Genome Patterns is a collection of 64 patches with sequences for Arturia Buchla Easel V. The bank of presets contains dark, deep, atmospheric, harsh and aggressive sounds that have a wide range of uses: from cinematic to modular techno sequences. 🌪️ The soundset is inspired by the biology, cosmic vibe, and modular sounds. Perfect for Techno, Industrial, Dub, IDM, Experimental, Cinematic and others.
🧪 All sequences are in the RUN mode, allowing you to change the pitch while playing. Sequences also play in a loop, so they can only be stopped by pressing stop in your DAW or by turning the synth's volume down. You can use the patterns in playback mode or record them separately and work creatively with the audio file.
🎚️ Each patch is performance-ready, with ModWheel assignments mapped for expressive control and making the preset brighter.
💡 Compatible with Arturia Buchla Easel and Analog Lab. Contains .mex (Easel) and .labx (Lab) versions. Make sure you are using the latest software/firmware version.
🔔 Minifreak, Pigments, and Buchla Easel presets can be imported into Arturia Analog Lab V. If you like these sounds but don’t have Minifreak, Easel or Pigments and only own the Analog Lab V plugin, you can still purchase these sets and load them into Analog Lab V."
"Patch notes.
Track 1 is a classic acid bass. A saw with an opening filter. And a bit of glide.
Track 2 is a kick drum—a triangle wave with pitch modulation.
This is where the magic begins.
The bass volume envelope on Track 1 modulates the decay of the kick drum on Track 2. The louder the bass, the faster the kick drum rolls in.
The kick drum volume envelope (which the bass modulates, don't forget) on Track 2 modulates the modulation depth of the volume envelope, which modulates the opening of Track 1's filter. This is what makes the bass sound so unique.
You won't be able to get this sound on a TB303 or other high-end grooveboxes. Because their modulations can only exist within a track and don't extend beyond it. In this video, the sounds of both instruments are closely linked and influence each other.
"The Ohmforce Bohm is a powerful Eurorack digital kick drum module that delivers everything from classic punchy bass drums to wild, experimental kicks, with deep sound shaping, CV control and stereo output for modern modular setups!"
0:00 Intro 0:25 Groove 0:51 Taps 1:16 Length and pitch 1:45 FX 2:45 Sound generators 3:45 Volume 4:20 Stereo spread 4:41 Performer 4:48 Volume 5:16 DJ filter 5:45 ON/OFF button 6:01 High-pass filter 6:15 Low-pass filter 6:27 DJ reso 6:53 Beat roll and slip roll 7:27 Audio inputs and ducking 8:24 First patch 10:15 Second patch 11:03 Third patch
While the patch would take a while to describe in great detail, here are the main points. All of the audio in the clip is coming from the Modcan processed through the Knif BBD in realtime. The Moog Subsequent 37 is sending arpeggiated notes, modulation, and pitch wheel to the STG Continuo, which is converting that to control voltage (plus internal LFO) and gate for the modular. The pitch CV is then routed to a Wiard Mini Wave, which imposes various quantized key modes and scales on the pitch. The gate signal is routed to various envelopes, LFO resets, and the Milton Sequencer (upper right) to clock everything together and keep it in sync. Milton is handling several duties including pulse width offsets for the oscillators, CV offsets for the filters, Wiard Mini Wave 2s wavetable select, and trigger outputs for the rhythmic parts. The "voice" is 3 oscillators (one of which is processed through the second Wiard Mini Wave for wavetables) through the Moog 904a filter, 2 more oscillators going to 2 Arp 4075 filters panned hard left and right, 2 oscillators plus ring modulator and spring reverb acting at the "cymbal," white noise and Dark Star Chaos triggered by Milton for additional percussion effects. The Knif BBD is tap-tempo synced to the Moog Subsequent 37's arpeggio clock. From there, everything is messing around with the Knif BBD controls, selecting notes on the Moog, and noodling around on the Modcan's front panel controls.
Been working on this for a while and it's finally at a point where I want to share it.
*Tresse* is a standalone polyphonic synthesizer built around Mutable Instruments' Plaits DSP code, running on an ESP32-S3 with a custom PCB. Three voices of polyphony, 38 synthesis engines, USB, DIN/TRS and Bluetooth MIDI, and perhaps Ableton Link and our upcoming stack (VMB) Våld Modular Bus, expected to ship this summer, and which will a new wireless comms protocol with negligible latency, auto discovery and machine mesh capabilities (to be released soon). Also enough knobs and encoders to actually play the thing without menu-diving, and a battery for when you're bored outside of your studio.
*The core idea:* take the full Plaits engine library — all 24 algorithms — and make it polyphonic in a self-contained hardware instrument. Then keep going and add 14 more custom engines on top. There are hundreds of options similar to this in modular systems and i thought why not bring all these god-level creative tools to bedroom, desktop producers who don't have the money or the space (or will) to mingle in the modular space, and bring them one contained box with all they need.
What's inside
*ESP32-S3* doing all the DSP across both cores (voices 0+1 on Core 1, voice 2 on Core 0, parallel render) **PCM5102A DAC**, 24-bit output, 32kHz sample rate *4 pots + 4 rotary encoders* through CD74HC4067 mux and MCP23017 I2C expander *OLED display* (128×64) for patch info, engine select, preset browsing *USB MIDI + BLE MIDI* — works with everything, no adapter needed for wireless Custom PCB, all through-hole friendly
38 engines
The first 24 are straight from Plaits — East Coast, Phase Distortion, all three DX7 variants, Terrain, String/Chords, Chiptune, Wavetable, Speech, Swarm, Particle, the Rings modes, the three drum engines, etc.
Then 14 custom engines built from scratch:
*Karplus-Strong* — proper physical string modeling with excitation morphing (noise → impulse → tonal) *ByteBeat* — 8 classic formulas with pitch-tracked rate, gets wild *CZ Phase Distortion* — Casio CZ-style, three distortion shapes *Supersaw* — up to 7 detuned saws with PWM, the obvious one but it needed to exist *Formant* — vowel synthesis with 3 bandpass resonators, gender shift control *2-Op FM* — clean FM with 13 ratios and operator feedback *Wavefolder* — sine/tri/saw/square source into a proper folder with bias *Noise Drums* — SVF-based with pitch envelope, covers kicks through metallic hits *Modal Resonator* — 8 tuned bandpass partials, morphs from harmonic → bell → bar inharmonicity, with a bowed excitation mode *Sympathetic Strings* — 3 coupled Karplus delay lines with controllable coupling and interval ratios *Comb Resonator* — 4 parallel comb filters with spread control *Drawbars* — organ-style additive with 8 Hammond-ratio partials *Complex Oscillator* — FM into wavefolder, Buchla-adjacent territory *Grain Noise* — granular noise with smoothing, good for textures and pads
Controls
Three parameter layers accessible via toggle buttons:
*Normal* — Timbre, Morph, Harmonics, Color on pots; Attack, Decay, FM, LFO Depth on encoders *MOD* — Fold, Detune, Ring Mod, Chorus on pots; LFO destination/shape/speed/sync on encoders *SHIFT* — Filter Cutoff/Reso/Env/Type on pots; Portamento, Octave, Vibrato depth/speed on encoders
Hold both buttons → engine select overlay. Double-tap MOD → system menu (randomizer, MIDI config, play mode). Double-tap SHIFT → preset browser across three banks (own patches, generated, branches).
Play modes: Poly, Mono, and chord modes (Major, Minor, 7th, Sus4, Power, Octave).
The randomizer is one of my favorite things — it generates random patches with procedural names (stuff like "Velvet Moth" or "Iron Shard"), you scroll through them with the encoder, and save the ones you like to a generated preset bank. 512 slots each for generated and branch presets, 128 for your own.
What it sounds like
Honestly covers a lot of ground. The Plaits engines already span everything from classic analog to FM to physical modeling to noise, and the custom engines fill in some gaps I wanted — proper supersaw, real Karplus-Strong, the modal/sympathetic stuff for metallic and evolving tones, and the ByteBeat engine for when you want to go full chaos. The global FX chain (filter, wavefolder, ring mod, chorus) ties everything together.
The project should be available from April 2026, in kit or assembled units! Price to be discolsed once i have the final FINAL prototype, but shouldn't hurt the wallet.
This is a *Våld Labs* project from Lisbon Portugal. Much more to come.
Would love to hear what people think, and happy to answer questions about the build or the DSP. Be aware that this is a pretty advenced prototype, but still a prototype"
"everything is from the synth to the zoom recorder, twin t drums, xor snare, pt2399, and cmos stuff.
attiny85 reseting the phase of 40106 oscilators, the digital control accepts 1voct from keysetp and go to the 40106 inputs through resistors, a little rc for filtering the pwm, and for this reason when you change the oscillator frequency you can get intervals and crazy stuff. is not orthodox but suits my need for Rich timbres. the dco goes to 40106 buffers , and then 4040 dividers, twin t filters, one for each of the two voices, one goes to env, vca, filter, delay, and the other one to clock divider and filter, to get the sub osc.
firmware super simple only for checking the conversion from filtered frecuency of the attiny85 to my 40106 non exponencial vcos.
currently is tracking 10 octaves really good, the trick is put a voltage divider in the cv in of the attiny because keystep has 0 to 10v and the attiny accepts 0 to 5v tehn the tracking inside the attiny converts o.5v oct to 1 volt oct. i dont know anything about coding but i made it with chat gpt and my design .
source code will be in the coments ."
"Echoes of Night Traffic" is a collection of 50 rhythmic presets for Arturia Pigments, designed to bridge the gap between surreal dreams and aggressive cyberpunk realities. The bank contains timbres heavily focused on sequences and rhythmic textures: 29 Sequences (SQ), 17 Rhythmic timbres (RH), and 4 Arpeggios (ARP).
📦 Get these presets: https://antonanru.sellfy.store/p/pigm... 👤 The author of the soundset is Daytona Carter. 🔔 Pigments presets can be imported into Arturia Analog Lab V. If you like these sounds but don’t have Minifreak or Pigments and only own the Analog Lab V plugin, you can still purchase these sets and load them into Analog Lab V.
💎 The library moves effortlessly from hypnotic, cosmic sequences to hard-hitting, aggressive rhythms that cut through the mix.
The soundset creates the atmosphere of a dystopian city, which would suit the soundtrack for a film, game, or electronic music (Techno, IDM, Ambient, Cinematic, Synthwave, Retrowave, Electronica, Acid, Industrial).
While the patch would take a while to describe in great detail, here are the main points. All of the audio in the clip is coming from the Modcan processed through the Knif BBD in realtime. The Moog Subsequent 37 is sending arpeggiated notes, modulation, and pitch wheel to the STG Continuo, which is converting that to control voltage (plus internal LFO) and gate for the modular. The pitch CV is then routed to a Wiard Mini Wave, which imposes various quantized key modes and scales on the pitch. The gate signal is routed to various envelopes, LFO resets, and the Milton Sequencer (upper right) to clock everything together and keep it in sync. Milton is handling several duties including pulse width offsets for the oscillators, CV offsets for the filters, Wiard Mini Wave 2s wavetable select, and trigger outputs for the rhythmic parts. The "voice" is 3 oscillators (one of which is processed through the second Wiard Mini Wave for wavetables) through the Moog 904a filter, 2 more oscillators going to 2 Arp 4075 filters panned hard left and right, 2 oscillators plus ring modulator and spring reverb acting at the "cymbal," white noise and Dark Star Chaos triggered by Milton for additional percussion effects. The Knif BBD is tap-tempo synced to the Moog Subsequent 37's arpeggio clock. From there, everything is messing around with the Knif BBD controls, selecting notes on the Moog, and noodling around on the Modcan's front panel controls.
"Audio demo of my Synton Syrinx. This one has been serviced and the power input changed from 220 to 110V.
The Syrinx uses seven Curtis chips for its VCO's, VCF's and envelopes. It has two analog VCO's, a sub-oscillator and three flexible voltage-controlled filters. You can switch between the three filters for either a 24 dB lowpass, or two bandpass filters, and they can be patched in four different ways (series/parallel). Additionally the Syrinx has two LFO's, FM, PWM, osc-sync, 2 ADSR envelopes, ring modulation, portamento and a cool touch-pad that can control various parameters from pitch-bending to the LFO rate. The Syrinx's Mixer section lets you adjust levels for each VCO and the sub-osc as well as the Noise Generator and Ring Modulator. Unfortunately, being released around 1983, the Syrinx just missed out on MIDI and patch memory options.
Polyphony - Monophonic
Oscillators - 2 VCO's (tri, saw, square, PWM) plus 1 sub-oscillator, ring modulation and noise gen.
LFO - 2
Filter - 2 Bandpass filters (Peak 1 & 2) and 1 Lowpass 24dB/oct filter. Individual cutoff and resonance controls, ADSR Envelope, Keyboard Tracking and LFO modulation
VCA - 2 ADSR filters (one can modulate the VCF)
Keyboard - 44-keys (3 1/2-octave, no velocity, low-note priority)
Arpeggiator - None
Sequencer - None
Memory - None
Control - CV / Gate (Moog type). Touch 'N Bend Pad.
Date Produced - 1983/84"
"Follow-up to yesterday’s binaural Summit deep dive. No talking, no tutorial, just patches.
This is 9:50 of binaural-style patches on the Novation Summit, built using bitimbral mode with the two parts hard panned left and right. Each patch is demoed twice: dry first, then with Summit’s internal FX.
Why Summit works well for this: the digital NCOs can be kept phase-stable and pitch-stable, so you can control the exact differences between the left and right layers without slow drift turning the whole thing into randomness.
Headphones strongly recommended. The stereo perception is the whole point.
What you’ll hear
Binaural patches designed around controlled L/R differences
Each patch: no FX → FX
No narration, clean demos, consistent comparisons"
"This video is an experiment in binaural-style synthesis on the Novation Summit, using bitimbral mode with each part hard panned left and right.
I start by demoing a handful of binaural patches, then do a real-time build in the middle where I patch a binaural setup from scratch, explaining the decisions as I go. It ends with more patch demos once the core idea is in place.
The trigger for this was the ongoing discussion around the UDO range and how it approaches binaural by design. I realized you can push a similar concept much further on other synths if you’re willing to build it deliberately.
Why the Summit for this? The digital NCOs can be set up so both layers stay phase-aligned and pitch-stable, which makes it possible to control every intentional difference between left and right without the whole thing drifting into 'close enough.'
"Here we have a 3 Patches series video with the character oozing CEREMONY, a low pass morphing to twin peak band pass filter packed with modern features and lots of CV options and SIGIL a compact function generator for envelopes, LFOs, slews or other function generator tricks! Check out the patches and skip around below."
"If you'd like to support work like this and the wider range of what I do, considering heading over to Patreon at https://bit.ly/DK-patreon and supporting for as little as $1 a month to gain access to the DivKid Discord community, plus lots of exclusives such as PDF patchbooks, videos and more. https://bit.ly/DK-patreon"
*TIMING INDEX // CHAPTERS*
NOTE // sub bullet points are points of interest within each section/patch, for those that might be looking for a specific detail to skip back to.
"I haven't done this in a while. No softsynths. No presets. Just raw voltage, evolving sequences, and semi-controlled chaos, captured in real time. Why would I do this? Because I can.
Available on all DSPs Wed, February 4th.
A Celldweller Production.
Patch Notes
I’ve had Intellijel’s Metropolis for a long time and have used it on many songs. A family member bought me Metropolix as a gift and it was time for me to wrap my head around all the upgrades and new features, so that was the impetus for this track and the foundation it was built on.
Intellijel Metropolix to Livewire AFG. Modulating pulse width and harmonic animation with Ornament & Crime. That’s run through one of my fav filters of all time, the Cwejman MMF-2 modulated by the Tip Top Z4000 EG for a bit of snap but mostly as seen in the vid, manual modulation of the cutoff. Hands are handy.
Drums are sequenced by the Erica Synths Drum Sequencer with kick, hats and percussion all in random mode. The Drum Sequencer is controlling the VPME QD & QEX which I loaded up with my own selection of drum samples.
I used Make Noise Pressure Points/Brains for the main played lead, controlling pitch of the XAOC Devices Odessa. Gates fired from PP/Brains trigger another Z4000 EG which mults through a Synthrotek mult to a Pittsburgh Modular VCA and the Roland 521 VCF (The thing I keep looking up at, hoping it would wave or say hi. It never did, but it did an amazing job at filtering the Odessa.)
The little arp I added at the last minute. It lives on another rack which contains all my 5U stuff. Sadly it’s not in the video bc I didn’t know I was going to utilize it when I set up the cameras. Next time. The arp uses all Synthesizers.Com modules, sequenced by the Q119 and filtered by the Q150 Transistor Ladder filter.
Delays and reverbs from multiple Tip Top Z-DSPs. Some EQ & compression and maybe a delay in Cubase which mainly acted as my tape machine to record the performance. As I normally do when I patch, it’s all synced to Cubase clock using Expert Sleepers modules & Silent Way software.
If you read even one sentence from these patch notes, you get a lollipop and if you made it to the end you’re a true legend and clearly as nerdy as I am. 🙌"
"Roland System 700 Keyboard Controller model 701A with the 6-pin DIN cable and original System 700 brochure. Block 2 contains the 61-key (5 octave) two-voice keyboard with a controller panel which offers: pitch control, portamento time with separate on/off switch, pitch bender with center off click stop, and a pitch bend range switch (off, 0.1v, 1v, 5v). All connections for single voice operation are made through the DIN patch cord. Rear panel also contains additional output jacks for: keyboard cv 1 and cv2 (second voice), gate out, key trigger out, and bend control voltage out. If you own the main console or lab system without keyboard, this is your chance to make is complete. I'm pretty sure that the keyboard works also with the Roland 100M cabinets, but I have not tested this."
