"Thornoscillator is used as a fuzz guitar but also the oscillation, and match very well, connect a synthesizer or rhythm machine and multi-effects fuzz noise oscillation rate can also be used separately as a noise machine thornoscillator.
Stacked wall of noise distortion itself is important, from fine grains or dust storms of fuzz, oscillation and noise sound is a struggle most comprehensive MASF. [Volume] [character] [freq] [sens] in control of exactly what is wrong is no name, and it is usually different from the way we listen to their own. [Volume] has a volume control or more roles, [caracter] [sens] will issue a combination of many things that look, it [freq] can be changed significantly.
Also by linking the effects thornoscillator else just changes the character of the thornosicllator is hard. For example, set to leave the state without oscillation thornoscillator, explode or oscillate as if the entire system and turn on the oscillation of the effects connected to the former, and in some cases can become a funny sound input source Select the sound produced by the operation are endless."
"Welcome to the Rainbow Machine, in all it’s synthetic glory! This one is for experimenters, adventurists and noisemakers. Totally not for purists and/or tone hounds, there are no “natural sounds” that will come from this box. It takes modern DSP and uses it as a tool of future past to create real time pitch shifting using digital oscillators. The sound is much different than most modern day pitch shifting devices. It was imagineered to be wild and out of control and slightly imperfect while still tracking up and down the guitar neck without glitching out. A cold digital beast made to pretend it has feelings. It will do basic polyphonic harmonies from a 4th down through a 3rd up and every atonal pitch in between. You may add in an accompanying octave to the harmony by bringing up the Secondary function control. You can take it way beyond and open up your third eye by bringing in the Magic. The Magic is the heart of the Rainbow Machine. In conjunction with the Tracking control, the Magic creates wild pitch take offs and descend’s, chaos chorusing, shrieks, pixie trails and wealth of other general mayhem inducing noises. The pitch can be controled by an external expression pedal for extra fun! The Rainbow Machine can be used on bass, keys, vocals or anything else you can dream up!
Expression Pedal
We recommend the Moog Expression pedal for the
Controls
Pitch - This controls the pitch of the harmony. All the way counter clockwise is a 4th down, all the way clockwise is a 3rd up. The middle position is unison. The pitch can be controlled by an expression pedal as well.
Exp - This is an expression pedal control jack for the pitch. The Pitch control is defeated when an expression pedal is inserted.
Primary - This controls the volume of the Primary pitch shifted signal. Unity is about 2 o'clock, anything above will boost the signal.
Secondary - This controls the volume of the secondary pitch shifted signal. The Secondary signal is one octave above the Primary from noon up and one octave below from noon back. Unity is about 2 o'clock, anything above will boost the signal.
Tracking - This controls the amount of lag time between the direct dry signal and the shifted wet signal. The pitch shifted signal will track right on the dry signal when this control is all the way clockwise. It will start to lag behind the more it is reduced. This function is especially useful when the "Magic" is engaged.
Magic - This adjusts the "weirdness" of the effect. The end result is a wide variety of wild effects depending on where the other controls are set. The magic control will only work if the magic switch is engaged and the primary and/or secondary are in use. (Technically, it's a regeneration control that creates aliasing between a mix of the primary and secondary functions feeding back against each other).
Tone - All the way clockwise is full signal, reduce to soften the highs.
Measures
4.7" x 3.7" x 1.18"
Power
Any standard 9 volt DC power supply with a negative center 2.1mm barrel. No battery option."
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via this auction
"The T-Resonator transforms timely events into an analog feedbacked filter network.
The T-Resonator is something like an M-Resonator + Digital Delay. But you can select 8 different delay algorithms, each with different delays and different feedbacks and modulate them even with an LFO.
Delays reach from less than a millisecond to 1 second, range and structure is depending on the algorithm. The delay feedback comes across the analog filters, of course.
You can create gaining analog echoes, "klingon parties" by extremely feedbacked wave guide algorithm and much more. By the analog feedback everything sounds organic. The screaming analog feedbacks can delay themselves and thereby form new sound patterns.
The sine LFO gets retriggered by the audio signal and can be shaped with the audio envelope or just run alone. In center position the amount is 0, to the left it's envelope-shaped LFO, to the right it's only LFO.
The filters are made from discreet parts and form a 24 dB pole lowpass filter transistor cascade.
They can - in any thinkable way - be self feedbacked and be coupled or feedbacked with each other, so that extreme sounds and chaotic states create - all what you need today for creative analog sound design.
Incredible bass gains or screaming scratch sounds are no problem. The mix pots are zeroed in center position; any other angle will couple or feedback negatively or positively. FM in both directions is also available.
The input has an adjustable gain and a Hi-Z input to plug in a guitar directly. Any line level signal can be processed, be it either mono or stereo.
Uploaded on Apr 15, 2010 Kraftwerkification·299 videos
Synth spotting with Kraftwerk. Note the videos are numbered 1 through 19, but some are missing. The playlist goes from 1-8, followed by 10-12, and then 19. Should keep you busy for a while at least.
via Andrew: "This is a picture of my Egyptian friend of the Egyptronica band 'Machine Eat Man' with some of his Moog gear in front of the pryamids. (machineeatman.com)!"
"We are excited to announce our new partnership with Paxahau, the Detroit based producer of the Movement Electronic Music Festival and Detroit Jazzfest. Our two companies are coming together to co-produce Moogfest 2014 taking place April 25 - 27, 2014 in Asheville, North Carolina. Moogfest is the annual festival created by Moog that celebrates the innovative spirit of our founder, Dr. Bob Moog.
The iconic synthesizer manufacturer has been quietly re-tooling its 9-year strong festival to better reflect Moog’s culture of creativity, technology, and musical innovation. Mike Adams, President of Moog Music, has always been committed to keeping the festival in Asheville, but wanted to see it evolve. "We set out to find a new partner with a real understanding of the dynamic history of electronic music, and that has a deep appreciation for the impact Bob Moog's inventions have had on musical expression and creation. After working with them for three years on their festival in Detroit, we knew Paxahau was the right choice to help us take Moogfest 2014 in the direction we envision," said Adams.
"Pour fêter l'arrivé du Moog Sub Phatty, notre gros coup de cœur du mois, notre prochaine rencontre Modularsquare sera dédiée aux synthétiseurs monophoniques.
Le samedi 13 avril, de 14h à 19h, nous vous donnons rendez-vous dans notre showroom pour découvrir, écouter, et comparer tous les synthétiseurs monophoniques de notre catalogue. Moog, Eowave, MFB, DSI, Waldorf, Cyclone Analogic, Metasonix, Oberheim, Vermona, toutes les plus grosses marques seront là pour démontrer que le gros son analogique n'est pas prêt de s'éteindre.
Au programme, présentation détaillée du Moog Sub Phatty et du Waldorf Rocket, ainsi qu'un comparatif entre une véritable Roland TB-303 et une Bass Bot de Cyclone Analogic sous forme de blind test, pour défier les puristes !
Au plaisir de vous y retrouver.
Cyril Colom
Modularsquare
6 rue marceau
94200 Ivry sur seine
01.45.15.41.95
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