Serge paperface (Morley) - Test 1

Published on Feb 7, 2014 DJjondent·221 videos

"A first test after restoration.
Just experimenting with some of the modules &
looking for cool sounds. This "paper face" is 40 years old.:-)

Many thanks to Ken Stone who did
a wonderful job.

The patch details will be up on my blog soon."

296e 289 first contact

Published on Feb 7, 2014 TheSineAssociation·38 videos

"Pulse going to 285e then to 296e, controlled by 222e, finally to Sputnik 289 in delay mode."

David First - Electronic Works 1976-1977 on Buchla 100

via Norman Records, via @_JoeOxley

shop.daisrecords.com/collections/fr…s-1976-1977-lp

"When people associate composer David First with his musical resume, anyone goes straight to his late 70′s avant punk band, The Notekillers and their influential 1980 single "The Zipper". Prior to his time in the basements of Philadelphia, he had already played in Cecil Taylor’s ensemble and after the Notekillers broke up he moved to New York City in the early 80′s, taking root in the downtown NYC avant garde scene. It was there that First honed his craft for experimental composition and ambient drone which still continues to the present day.

Though this narrative made sense, there was a piece missing in the puzzle of First’s musical background. In 1976, two years after playing with Taylor and the year before starting the Notekillers, he enrolled in a class in electronic music at Princeton in the department headed at the time by legendary electronic composer Milton Babbitt.

During his time at Princeton, First was introduced to the classical electronic music studio there, a lonely outpost of the famed Columbia-Princeton Electronic Music Center which housed one of the very first Buchla 100 series systems acquired by Vladimir Ussachevsky & Otto Luening.

Unfortunately, due to the introduction of digital technology within the music world, this system was left to languish in the studio unattended and nearly forgotten. First fell in love with this equipment and seized the opportunity to compose using the Buchla 100 synthesizer, at first experimenting only with electronic synthesis but later adding in his signature guitar stylings to make these compositions unique to the academic output typical of university music.

Thankfully, these compositions were recorded by First at Princeton on various reel to reel tapes and stored away for over 35 years. It wasn’t until the summer of 2012, when David First and Ryan Martin (of Dais Records) decided to revisit and transfer these reels to compile an album presented here as a selection of genuine, uninhibited exploration into modular electronic synthesis. Limited to an edition of 500 copies with liner notes by David First."

MacBeth S&H Tape Delay

Published on Feb 7, 2014 macbethsynthesizers·105 videos

"I wanted to apply Control Voltage to the Tape Delay Simulator section of the MacBeth Nexus/Elements synthesizer. When clocked at different speeds the results are dramatic! Will a little bit of feedback- just before oscillation- small 'artficats' can be heard if left to it's own devices. One oscillator ius providing the audio- the other oscillator is modulating the Tape Delay Simulator with Sample and Hold CV..Basically- this video is more 'audio' than video as there is not much potentiometer tweaking happening. I used myself and a camera as 'background' material for the vid! Although starting quietly- it certainly picks up! There's a real vintage European Electro vibe going on here!"

PPG WaveMapper 2.0

Published on Feb 7, 2014 PPGWavegenerator·18 videos

"Cornel Hecht shows off the new PPG WaveMapper 2.0 for iPad. He shows the new IAA with Cubasis. Featuring:

- Inter-app Audio (IAA) with MIDI
- Load audio files from Media Library - Analysis page
- Wavetable exchange via pasteboard with WaveGenerator
- App switching with WaveGenerator
- Minor bug fixes"

iTunes: WaveMapper - Wolfgang Palm

Nrokrebo ~ Oberkorn

via Tom J Carpenter on Facebook

DOEPFER A-120 24dB Low Pass 1 (VCF1) eurorack module

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

via this auction

"Module A-120 is a voltage controlled low-pass filter, which filters out the higher parts of the sound spectrum, and lets lower frequencies pass through. The Cut-Off Frequency determines the point at which filtering takes effect. You can control this manually, or by voltage control (filter modulation, for instance by an LFO). Three CV inputs are available, and the sum of the voltages from these affects the filter cut-off.
The module is based on a so-called "transistor ladder" design, with a cut-off slope of -24 dB/octave, as in various Moog synthesizers. That's what gives it its classic, legendary Moog sound.
Resonance (or Emphasis) is adjustable all the way up to self-oscillation - in which case the filter behaves like a sine wave oscillator."

DOEPFER A-114 Dual Ringmodulator eurorack module

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

via this auction

"Module A-114 contains two separate ring modulators. A ring modulator outputs the product (Multiplication X • Y) of the signals at inputs X and Y. It's similar to a VCA, but whereas a VCA only responds to positive voltages at the inputs (2-quadrant multiplication), the ring modulator responds to both positive and negative voltages (4-quadrant multiplication).
The ring modulator thus provides a refinement of amplitude modulation (AM). Ordinary amplitude modulation will output the original carrier frequency fC as well as the two side bands (fC - fM, fC + fM) for each of the spectral components of the carrier and modulation signals - but ring modulation cancels out the carrier frequencies, and just lets the side-bands pass to the output (see Fig. 1).
A ring modulator is used for the production of bell-like sounds, alien voices, or just to produce new timbres."

DOEPFER A-103 18dB Low Pass 1 (VCF6) eurorack module

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

via this auction

"Module A-103 is a voltage controlled low pass filter with 18dB/octave slope. The circuit is based on a modified transistor ladder (Moog ladder) and is a reproduction of the legendary TB303 filter. As for the rest the A-103 is identical to the A-120 Moog low pass filter (same controls, inputs/outputs) only the filter sound is different."

DOEPFER A106-1 Xtreme Filter (Korg MS20) eurorack module

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

via this auction

"Module A-106-1 has it's origin in our experiments to built a MS20 filter clone. The module is not exactly the same as the MS20 filter but similar. The famous original MS20 included two filters: a 12 dB lowpass and a 6dB high pass filter connected in series both with a very special design (the MS20 highpass if very often described as 12dB high pass, but this is not true). During our researches we found a way to use the same circuit simultaneously as lowpass and highpass for 2 different audio signals (a bit similar to the A-101-1 Steiner Vactrol filter that has even different audio inputs available, but with the special MS20 circuit). For this two separate audio inputs for lowpass (LP) and highpass (HP) with separate level controls are available. The sockets are normalled, i.e. the signal applied to the LP input is available for the HP input too provided that no plug is inserted into the HP input socket. The level control of the HP input is realized as a polarized input. This means that the signal can be added with the same polarity (+ range) or opposite polarity (- range) compared to the LP input. This feature enables notch (+) and bandpass (-) filter functions too. From our point of view this is the most flexible solution that enables e.g. these functions:

Lowpass: the audio signal is fed to the LP input, HP level control is set to zero, LP level control is set to the desired level
Highpass: the audio signal is fed to the LP or HP input, LP level control is set to zero, HP level control is set to the desired level (in this special case it does not matter if positive or negative amplification is chosen with the polarizer control)
Lowpass/highpass mix with one audio signal: the audio signal is fed to the LP input, LP and HP level controls are set to the desired levels.
special setting 1: if the level controls for LP and HP are set in a way that both levels are identical with the same polarity (i.e. + range of the HP level control) and no or little distortion only one obtains ~ a notch filter (the "~" indicates that the notch is far from beeing perfect, the attenuation in the passband is not as good as for other filters of the A-100 system, look at the frequency response curves at the bottom of this decoment for details)
special setting 2: if the level controls for LP and HP are set in a way that both levels are identical with the opposite polarity (i.e. - range of the HP level control) and no or little distortion only one obtains ~ a bandpass filter (the "~" indicates that even the bandpass is far from beeing perfect, there is a significant feedthrough of frequencies below and above the center frequency, look at the frequency response curves at the bottom of this decoment for details)
Remark for settings 1 and 2: The original MS20 circuit was not planned for notch or bandpass applications. The ~notch and ~bandpass filters should be treated as a free bonus and have the disadvantages mentioned above. The reason is that the lowpass has a 12dB/octave slope and the highpass 6dB/octave. This leads to phase relations that do not allow a "perfect" bandpass and notch simply by adding/subtracting signals as for other filter designs (for insiders: there remains always a 90 degree phase shift). For better notches and bandpasses other A-100 filters should be used - or two A-106-1 patched in series (bandpass) or parallel (notch) with suitable frequency settings.
Lowpass and highpass with two different audio signals: the two audio signals are fed to the LP input resp. HP input, the level controls for LP and HP are set to the desired levels. For the +/- control of the HP input it is essential in this case if the two input signals are phase correlated (e.g. two different outputs of the same VCO or VCO output and a frequency divided signal derived from this VCO) or there is no fixed phase correlation between the two signals (e.g. two different VCOs). In the first case the the - and + range of the HP control leads to different filter results. In the second case there is no difference if the + or - range of the HP control is used."