Arturia Microbrute and Korg Volca Beats

"Depatterning" Arturia Microbrute and Korg Volca Beats

Published on Apr 14, 2014 RCAvhstape·9 videos

"Look at the flowers. Volca Beats and Microbrute jam. Percussion sounds are Volca Beats, all other sounds are from the Microbrute.

2014 RCAvhstape

Gear used:
Arturia Microbrute analog synthesizer
Korg Volca Beats analog drum machine
Garagetone Axle Grease delay pedal
Arion Stereo Chorus pedal
Korg Sound-on-Sound multitrack recorder

Video made with VideoFX and MS Movie Maker"

"MK Delta" Arturia Microbrute and Korg Volca Beats

Published on Mar 30, 2014

"Some more mind control for you. Volca Beats and Microbrute Jam, using the 'sleep deprivation' technique."

Korg Volca Beats and Arturia Microbrute "Bright Approach"

Published on Mar 16, 2014

"Volca Beats synced to Microbrute. Output of Microbrute run through Garagetone Axle Grease delay pedal, then mixed with output of Volca Beats via Boss LS2 line selector switch pedal. Recorded using Korg Sound-on-Sound handheld recorder. This is all one track, recorded on one take."

MicroBRUTE Solo Tapes - Old Berlin School

Published on Apr 15, 2014 skywojto·18 videos

"MicroBRUTE Solo Tapes goes Old Berlin School (KS style)

8 sequences from MicroBrute recorded one after the other to the DAW. Just like 8 track tape recorder in the 70' ;). All sounds come from the MicroBrute. Simple EQ on each track to separate frequency, some fade in/out and Delay, Reverb has been added on each track. Solo played on tiny MicroBrute keyboard and I'm not the best keyboard player, so forgive me for mistakes... ;)

Enjoy

PS. I think I have heard too much of Klaus Schulze music in my life. ;)"

Modular jam: René & BeatStep & SNAZZY FX:Ardcore [HD Quality]

Published on Apr 15, 2014 inbetweenmovements·68 videos

"Rat(s)h(*)t sketch programmed by Thomas Whiston (starts to trigger brass-like sound at 01:56). The trigger generator is based very loosely on some of the ideas in the Buchla/Eardrill Pendulum Ratchet module, designed to replicate some outputs from the a and b output sections, so clock is divided as well as being tested against some number tables.
https://bitbucket.org/twhiston"

Mutable Instruments - The Tides come in (initial test)

Published on Apr 15, 2014 bigcitymusic·324 videos

00:00 - Mutable Instruments Tides in PLL mode, "BI" out of Tides amplitude modulating a Braids 4ms VCA Matrix channel at audio-rate.

00:31 - Mutable Tides in PLL mode, "UNI" out of Tides amplitude modulating a Braids 4ms VCA Matrix channel at audio-rate.

01:15 - Mutable Tides looping , "UNI" out to 4ms VCA Matrix modulating Braids amplitude.

01:54 - Tides looping audio-rate, "BI" out to 4ms VCA Matrix modulating Braids amplitude.

02:17 - Tides "UNI" out to 4ms VCA Matrix.."swinging" envelope shapes.

Eurorack Modcan Quad Envelope, Dual Delay, Dual FreqShifter, & Dual Phaser

via Control Voltage on Facebook

Harvestman Polivoks VCA / Envelope R-1985

via Control Voltage on Facebook

Monome ALEPH

via Control Voltage on Facebook

"a·leph
[älif], noun
1.the first letter of the Hebrew alphabet"

Gieskes No-Drums Version.3 2014

via Control on Facebook

"'Module that tries to sound like drum sounds but mostly fails at it.'

From one of our favorite designers, the new 2014 No-Drums by Gieskes is now available. No photo can accurately capture the BLING of this front panel. Some new improvements: CV Osc A & B, Trig Out Osc A, Low Freq Switch Osc A, plus more!"

You can find a video of the Geiskys No Drum from 2012 here.

buchlakai...it's a moment to silence

Published on Apr 15, 2014 Ebotronix·1,000 videos

Akai MPC 2500, MFC 42 Analog Filter Module
Buchla System #1
Flame Talking Synth Module drum & voice
Korg micro X mayhem voice
Lexicon PCM 90
Logic master
yamaha / mackie mixer
full moon

DACS Freque II Ring Modulator Demo

Published on Apr 15, 2014 perfectcircuitaudio·58 videos

"This is a demo of the DACS Freque II processing a TR-909, Nord Wave, Pro-One, and TR-606. Enjoy!"

via this auction

"Produce pumping tracks that stand out from the crowd with the FwS FREQue II (pronounced "freak"), a genuinely new and inspirational analogue effects processor.

The Effects

With low frequency modulation inputs: Simple to complex autopan effects, gating, amplitude modulation, flanging, spatialising

With mid frequency modulation inputs: Vocoding type effects, adding tunable harmonics, both lower down to subsonic, and up to supersonic, second harmonic distortion (like valves/tubes), harmonising, retuning percussion, gating, general rich distortion, Sci-Fi voices (eg a Dalek)

With high frequency modulation inputs: Transposition with distortion, adding glitter, air, sparkle etc when mixed back into original

With music or sounds into both inputs: Vocoding effects, gating effects, fattening/thickening effects, spatial effects, weird transformations

Internal FM: Frequency Modulation of modulation oscillator at all frequencies, giving effects ranging from slow pulsation to the classic FM generation of complex waveforms

External voltage control of oscillators: Envelope follower effects, FM effects as above, randomised autopanning

Frequency shift: Up and down shift of frequency with change in harmonic structure, with FM for sliding effects, using feedback loop to create filter type sweeps

Application Ideas

This section is not intended to be a comprehensive list of all that can be done with the FREQue II. Rather it is a list of starting points for you to begin experiments from. Using the FREQue II, producers and engineers can almost infinitely extend the voices of their existing battery of synthesisers and sound generators and create vast ranges of completely new sounds, add depth and warmth to early digital synthesisers, give drums new power, radically transform voices...

Some treatments will require mixing with the original signal and some will need to be kept separate. For example adding distortion to a continuous sound will need mixing while gating effects will not.

Tone and Music:

Set Up: Feed a stable tone, or a slightly varying one, into the MOD input and the music or tune into the MUSIC input. The MOD input could be from the internal oscillator. If the MOD input is harmonically related to the key of the music the OUTPUT will tend to be harmonic e.g. the MOD input is a D and the music is in the key of D, then the output will tend to be harmonically rich. If the MOD input is not related, then the output will be rough, bell like and/or noisy depending on the frequency of the input.

Try this: Use held chords that have a certain amount of vibrato - as the pitch of the chords varies so the harmonic content of the sound will vary. Vary the MOD frequency to generate sliding upper and lower harmonics, Use randomly generated frequencies from synthesisers on MOD input, Try varying the edge controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects, Have a go at the 1st oscillator range to produce gating effects, the 2nd range to produce tremolo effects, the 3rd range to produce heavy modulation effects while the 4th range will produce higher and higher harmonic effects

Drums:

Set Up: Feed percussive sounds into the MUSIC input and tones or other sounds into the MOD input. The MUSIC input will then act as a trigger and give a gating effect, only producing OUTPUT when the MUSIC input signal is present.

Try this: Vary the MOD input frequency to produce output harmonically related to the music, Feed the melody into the MOD input and the percussion will 'play the tune', or at least tend to go up and down with it, Feed any old music to the MOD to produce an effect similar to scratching, Feed the MOD input with carefully selected samples synchronised with the percussive sounds, Using the FREQue II's oscillator set on the 2nd or 3rd range generate deep deep bass sub harmonics on bass drums, Using the oscillator set on the 4th range generate grain, grit and glitter on snares, hi hats, cymbals, maracas

Vocal Inputs:

Set Up: Feed your voice into the MUSIC input and feed a variety of signals into the MOD input - music, tone, noise...

Try this: Use the voice to gate the MOD inputs, Use the voice as a percussion imitator to produce hot rhythm sections from modulated MOD inputs, Try the 1st range to produce gating and heavy breathing effects, the 2nd range to produce tremolo and panting effects, the 3rd range to produce heavy modulation effects (Dalek/sci-fi voices among others) while the 4th range will produce higher and higher harmonic effects

Same signal or L & R of stereo into both inputs:

Set Up: Feed the same signal or the left and right of a stereo signal into the MUSIC and MOD inputs.

Try this: Mix the output into the original signal to harmonically enhance the signal, Left and right inputs into MOD and MUSIC inputs respectively on both modules can produce phasing and other spectral phenomena, particularly if the spectral controls are varied, Try varying the edge and/or weight controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects

Delay/feedback:

Set Up: Use a delay line to process signals going in to or out from the units

Try this: Feed audio out back to MUSIC input via delay at tempo or multiple of tempo, Do the above with long decays on the end of sounds, Split the signal to both inputs and use delay line on one input to produce weird flanging effects on output, pan both outputs centrally or left and right

Multiple Modulation:

Set Up: Feed music into the MUSIC input of one modulator and use the internal oscillator to modulate it. Take this OUT to the MUSIC input of the second modulator and modulate it with the same internal oscillator. The result is that the original signal is reconstituted and additional higher partials are also added."