via Scott Stites on
this electro-music thread. Keep an eye on the thread for updates. If images or samples come in, let me know.
"I guess I better extricate this from the Clangora thread before it derails that fine conversation. I hope I don't sound like I'm hyping this thing unnecessarily, but I truly am buzzed by this design. This one has been as hard to keep quiet about as the Mankato Filter. In fact, I often think about this as the Mankato of drum voices, it's that good. I'll start at the top:
This summer (summer 2007), Thomas quietly developed a drum voice that just sat me back in my seat. I'm not sure I've ever seen him work so hard on a single design - I'm sure he has, but in my experience breadboard testing things, I'm certain this one took more work than I've experienced with any other project. He literally designed this thing from the ground up, and we very thoroughly rung it out.
In the Clangora thread, Thomas mentioned how versatile it was (and it is extremely versatile). On top of that, the sound of this drum voice for me is simply stunning. A good deal of that is due to an innovation Thomas threw in there; it's something that I've never seen on any other drum voice. It was an idea that he picked up from an interview with Roger Powell years ago (it was Roger Powell, wasn't it Thomas? I'm kinda fuzzy here). It has to do with the impact circuit - I swear, it literally sounds like someone is striking this think with a real stick/mallet/hand/sledgehammer (depending on how it's tuned).
Just to give a rundown of the elements: the voice has three oscillators, a noise source, a balanced modulator (that can be unbalanced as well), three envelope generators, two VCAs, a noise source, a LP/BP switchable resonant VCF, and a versatile mixing section with send/receive loops. This one is a blast to tweak as it plays, BTW. It's the only drum voice I've played that can dissolve from a cowbell to a landing alien craft in a very non-seventies, non-disco-era Simmons way (though it can do that, too, if that's your thing).
Fortunately, Thomas designed it, so it is a very elegantly designed circuit (translation, it will fit on a single PCB). There are a lot of controls, so it won't be a small panel.
Right now, the target for the project is as the next electro-music PCB series, in the same vein as the Klee project. We're working on drafting a certain man from Nambucca Heads to crank out a PCB, and we're going to Klee team it to make sure what you get will be the best quality PCB we can offer. The documentation part already is very well done - can't beat those Thomas Henry schematics! I'm hoping to avoid the whole reservation process which is really a pain, but this is all in the prelim stage so far.
Expect samples. Very Happy
Cheerio,
Scott"
"The first thing you might notice about Max 5 is the new look of the objects. We've redecorated with a new appearance to ensure you can immediately identify the basic elements of a patch. It doesn't try to be photorealistic, primarily because the interface scales so you can look at a patch at any resolution. That includes zooming out as well as zooming in."
