4ms CV Max Tweaker Noise Swash Peda

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Perfect Circuit Audio (RSS)

Another Easter egg died pedal. This one with Bruce Lee and a jakyl on the back.

"The CV Max Tweaker Swash is a "semi-modular" Swash. It includes the same features as the Max Tweaker but with a CV In/Out jack, and blue LED to indicate presence of CV signal.

Features

Swash: Sweetspot heart of the noise circuit
Gate: Music-noise flow control
Pregain: First stage gain
Preclip: Second stage diode clipping select
Postgain: Third stage gain
Postclip: Third stage clipping select
Treble: Sheering high-end
Bass: Rumbling low-end
Low: Simulates low battery, each setting is a whole new swash...
Self-Osc: Amount of internal feedback
Self-Osc Switch: Kicks self-oscillation in and out
Clean: Volume of clean signal
Volume: Plenty of it! Master volume control
LFO: A rhythmic wave swashes uncertain characteristics of the noise in and out. Speed knobs, flashing LED, on/off switch
LFO Switch: Switch LFO Modulaton in and out
Tame/Trouble Switch: Select between classic swash (trouble) and complete silence in bypass (tame)
NoiseVol: Gain of noise signal, effects self-oscillations (prior to master volume)
In: Audio/Instrument input (1/4 inch TS)
Out: Audio output (1/4 inch TS)
CV In/Out: Modulate the noise with a second input or use as an output to other voltage-controlled hardware
Blue LED to monitor CV In/Out"

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4ms Mini Swash Chaotic Effects Processing Pedal

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Perfect Circuit Audio (RSS)

Like a dyed Easter egg.

"Mini Noise Swash is a chaotic noise maker and audio processor. It is the same as their classic noise swash, but in a much more compact housing.

Features
Swash: Sweetspot heart of the noise circuit
Gate: Music-noise flow control
Volume: Plenty of it! Master volume level
Tone: Bass/treble mix
Pregain: First stage gain
Postgain: Third stage gain
Preclip: Diode clipping select
Low: Simulates low battery, each setting is a whole new swash...
Self-Osc: amount of internal feedback, knob clicks off to disable
Postclip: Third stage clipping select
True-bypassed with LED indicator (3PDT stomp)
9VDC powersupply included (USA orders)
Perfect for table-top use"

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Flight of Harmony IMP Audio Generator Eurorack Module

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"Features:
• Domains (frequency range groups)
o 2 banks (high and low) of 4 switch-selected frequency ranges
• Frequency adjustment
o Coarse and Fine
• Fine scaling adjustment (relative to Coarse)
o 5:1 to 25:1
• Range adjustment (range of frequency variance within domain)
o Coarse and Fine
• Fine scaling adjustment (relative to Coarse)
o 5:1 to 25:1
• “Tone” control
o Variable between low-pass and all-pass (Adjustment also varies phase interaction)
• Control Voltage (CV) inputs
o Frequency: 0 to +5V
o Range: 0 to +5V
o Width: 0 to +5V

IMP description:
Domain, Frequency, Range and Width: Technically, all four describe the same Function: what frequency the Imp puts out. The total possible range of the Imp, however, is from sonic to ultrasonic, and accessed in different ways requiring multiple controls for fine-tuning.

High-Low Toggle switch: Selects one of two banks for the Domain switch to select from. The High bank is the same as the standard INM, while the Low bank has lower frequency ranges than possible with the INM. The descriptions below were written with only the original High bank in mind.

Domain: The first stage of frequency selection. Domain selects one of four wide bands of the overall range. Four Domain is lowest, One is highest (in frequency). Four is audio, One is nearly ultrasonic. The One Domain is where you will find the oddest/most ethereal Noises: static, wind, the impression of voices. It has a lot of what seem to be dead spots, but it is worth the time to wander the Domain and see what can be found.

Frequency: This is the main frequency control within the selected Domain - it sweeps over the entire Domain (depending on Range, see following). The Fine control sweeps up to 1/5 of the size of the band that Coarse does.

Range: This controls how wide of a sweep Frequency covers. Fine control same as with Frequency.

Width: This one is a bit more esoteric: it controls the “width” of the band of the current domain that the Fine controls cover, hence the “up to 1/5”. In Domain 1, wide open is best. In Domain 1 the bands of sound are very narrow, so it is best to set the width all the way down to find the hidden sweet spots.
In other words, a quarter of the possible frequency range is selected by Domain, and the other controls select how much of that Domain the frequency control can sweep across. The Coarse knob is for a broad sweep over the Domain, and the Fine knob is for finding the perfect “sweet spot”.

Tone: The high-frequency content from the IMP can be somewhat painful at some of the higher settings, so a variable low-pass filter is included. It can also provide some interesting timbre variations."

Flight of Harmony FoH Choices Joystick Eurorack Module

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Tama Snyper DS200 Analog 2-Channel Drum Synthesizer with Original Box

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"From the late 1970s here is a Tama Snyper two-channel ANALOG drum synth. Stewart Copeland used on of these to add low end to his bass drum in concert. You can plug in a microphone or trigger pad/pedal. Gives a great low end, or the ear-splitting high-pitched syndrum-type sounds."

ROLAND TB-303 BASSLINE with Gig Bag

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Alesis A6 Andromeda SN (21)A10806045700941 with Original Box

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Cheetah MS6 Synthesizer Module with Original Box

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"The original transformers both became faulty (a common problem with this unit) and have been replaced by new ones in an external box which plugs in. Some of the power supply capacitors have been upgraded and it has a new battery.

Because of the external transformer box it is 240V only (UK and European voltage) and the mains switch is on the external box (the front panel mains switch has been left in place for cosmetic purposes)

There is a lot more about this module at: http://www.maad.net/ms6/"

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Waldorf Microwave XT Shadow Editing

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Musikmesse: U-he Goes Modular in Software, Satin & Diva Updates

http://www.u-he.com/cms/
via KVR:

- we'll showcase Bazille 1.0 (to be released in June/July)
- we'll showcase Satin (tape machine emulation, due in May)
- we might showcase Presswerk, a massive compressor (ui pending)
- we'll have a Digital oscillator module for Diva
- we'll have a new "Uhbie" filter module for Diva and ZebraHZ
- we'll have a sequencer/arpeggiator combo for Diva (all coming in June)
- we'll have Caffè corretto to pick you up

And also, wish us luck for Diva's second nomination for the MIPA award. It took Zebra twice to get it, so we're in good spirits.

More screenshots will be posted as they come...

Some notes from Urs in response to comments:

"Well, hehe, it won't look as 3D as the render of course.

But the new layout with those "channels" that show the signal flow within each module has become really great.

I'd post a screenshot, but alas... I'm still working on some shading algorithms (the gui currently gets rendered on the fly when the editor is opened or resized, not sure if we can keep that up because it takes 2-3 seconds)"

On the new digital oscillator for Diva:

"It's got two oscillators. Each with 8 waveforms. Each waveforms has two "Control" parameters that can be modulated.

Most notably:

- TriangleMod: Does a foldback-distorted triangle wave combined with a symmetry-warp function
- SuperSaw: Does a sawtooth with 6 additional sawtooth mixed in, ad variable detune
- Feedback: Does a sawtooth with distorted feedback at variable (tuned) delay and gain
- Noise: Does noise with adjustable bandpass filtering and cutoff
- PWM: Does PWM with an invented-by-u-he pseudo-resonance control
- plus another sawtooth and triangle waveform

Both oscillators can interact by Ringmodulation, Sync and Crossmodulation.

I guess you'll all easily guess where this is coming from"

on Satin:
"I'll be sitting down with Sascha today to prepare the final touches of the user interface. Maybe we can have a more or less accurate screenshot then.

Basically... Satin is not just a tape emulation. I'm thinking of it as "all of tape"

Without being modelled after specific gear like Diva, Satin still has a mix and match approach. There are various pre-equalisation and post-equalisation curves to choose from as well as various noise reduction techniques and a choice of tape speed, plus a few head/gain adjustments. The sound of tape ranges from subtle to drastic. The adjustable noise level is irresistable

On top of that we've added a choice of typical tape applications:

as a tape emulation it can glue a mix, and there's easy control for up to 8 groups of Satins that share the same settings

as a sound design tool it crunches, compresses, expands, "makes 3D"

in delay mode it does for a bloody damn fine tape delay (2 or 4 heads)

in flanger mode it lets you "fly in" flanging just like in the olden days

as a restauration tool it can "repair" recordings that were made with one machine and digitised from another

In tradition of u-he, Satin is to tape what MFM2 is to delay or what Filterscape is to equalisation. The CPU usage is on par with other tape emulations we've tried. While it doesn't sound exactly like any specific machine, we're confident that Satin behaves very much like those machines would.

Screenshot follows...

- Urs"