MATRIXSYNTH

Trigger Box Sequencer for iOS

Trigger Box - Step Sequencer Published on Aug 1, 2014 Justus Kandzi

Trigger Box - Euclidean Sequencer

Trigger Box - Shaker Preview

"Download for free: https://itunes.apple.com/us/app/trigg...

The Trigger Box app sends trigger/gate signals to your analog synthesisers.

Facebook:
http://www.facebook.com/BruteLFO

Tumblr:
http://justuskandzi.tumblr.com

Twitter:
http://www.twitter.com/justuskandzi"

Gotharman's TubaZ - VCO mode

Published on Aug 1, 2014 gotharman

"When nothing is connected to the audio input of TubaZ, it is in VCO mode. First you hear the direct output from TubaZ, later it is connected to the MiniProphet filters.
www.gotharman.dk"

Fifth Degree: MIDI Sequencer for iPad

iTunes: Fifth Degree: MIDI Sequencer - Bernie Maier (Currently Free!)

"From a few simple elements complexity can arise. Fifth Degree is a MIDI sequencer based on a simple concept: loop around the musical circle of fifths in key and tweak the performance parameters live. You can use it to create a mesmerising loop and change the way it plays or use it as a base while you improvise alongside it with another instrument. You can even use it as a convenient loop of notes while you try out different sound patches on your synthesizer.

Features:
• Lean user interface that gathers the essential performance controls on the main screen.
• Fixed sequence of notes (ascending circle of fifths).
• Clearly displays the notes in the key and scale you select.
• Outputs to CoreMIDI output ports (virtual, network and physical).
• Keeps sending MIDI while in the background.
• Can send MIDI notes and MIDI clock, so other apps can choose to synchronise.

Fifth Degree is a MIDI sequencer app supporting any CoreMIDI output: virtual MIDI, MIDI over Wi-Fi and CoreMIDI compatible hardware interfaces. Since it is a sequencer it does not generate sounds on its own, so use it with your favourite CoreMIDI-compatible sound generation app or hardware.

Fifth Degree was developed for the 2014 KVR Developer Challenge. It is powered by the MidiBus library from Audeonic."

Let's Play with ReBirth: Song Composition

Published on Aug 1, 2014 Tim Webb

"I've gotten a lot of requests to describe my process for developing bass lines and Acid lead lines. In this video I attempt to do that! ReBirth is an excellent app to demonstrate both. I even throw in some details on working out drum patterns. Along with tips for playing Acid live. I tried to keep this as Squelch-lite as possible so as to avoid driving non-acid fans crazy. If you enjoyed this please consider supporting this series by sponsoring them on Patreon: http://www.patreon.com/user?u=107612

Be sure to visit http://discchord.com for this and other music app news!"

iTunes: ReBirth for iPad - Propellerhead Software AB

M is for Molecules

Published on Aug 1, 2014 Michal Patulski

"analog cv chain reaction"

Industrial Rytm

Published on Aug 1, 2014 Wein Glas

"Analog Rytm and Buchla Music Easel making industrial noises!

The Album "The Electric Music Box - Sketches Vol. 2: With a Little Help" contains an extended version of this track and many more.

Like Volume 1 this is only available on http://weinglas.bandcamp.com"

Rebel Technology Bit Reactor

via Control on Facebook

"NEW Bit Reactor care of the UK's Rebel Technology is now available. Bit Crusher / Down Sampler / 10HP"

"The Bit Reactor is a hardware bit crusher and downsampler. It has no program or CPU, it digitises without software. It takes whatever signal you give it and crunches it up into digital atoms.

We live in an analogue world. But most of the media that we encounter today is digital: an attempt to reproduce real-world signals with a stream of 1s and 0s.

In the realm of modern electronics there’s plenty enough processing power to create a crystal-clear digital copy of pretty much any analogue signal. The Bit Reactor, on the other hand, explores what can happen when we take all that processing power and throw it out the window. Think of an old Atari or NES in all its 8-bit glory and you’ll start to get the idea.

There are two main parameters to play around with on the Bit Reactor: bit depth and sampling frequency. Less bits means the signal levels can’t be properly reproduced, and this can result in anything from a fairly subtle to a super-clipped square wave distortion and its associated harmonics. Meanwhile the sampling frequency determines the maximum frequency that can be accurately reproduced. As it is decreased, the higher frequencies present in the input can no longer be accurately recreated. But rather than these frequencies simply being discarded, they reappear at a different, enharmonic frequency due to the phenomenon known as aliasing. These effects, on their own and in combination, create unique audio artefacts that range from subtle colouring to complete destruction.

The 8 small LEDs surrounding the middle knob represent the number of bits being used (each LED represents 1 bit); as the knob is turned clockwise, more bits are added and more LEDs are lit.

The sampling frequency increases as the knob is turned clockwise. At the fully anti-clockwise position the sampling frequency will be so low that virtually no note will pass through unscathed.

Both of these parameters can be modulated via the CV inputs and the modulation depth is also adjustable for both parameters. Modulation is positive, meaning an increase in CV corresponds to turning the knob clockwise, and vice versa.

Finally there is an input level adjustment to provide a small boost or cut as required to get the maximum tonal variance out of the bit crush. To fully exercise the dynamic range of a handful of bits the input should be high but not clipping. If the input level is low, there won’t be a marked difference when at the lower end of the bit knob. This can be demonstrated by taking a rather extreme example: at 4 bits, the output is stepped with a resolution of just over 300mV per step. That means that if the input level were 300mVpp, at 4 bits the output would already be a square wave (one step), exactly the same as when using 3, 2, or 1 bit.

On the other hand, an input level that is too high could also be undesirable. The module’s input has a limiting circuit which caps the signal at 5Vpp. With an overdriven input this limiting circuit will already be distorting the signal before it even gets put through the analog-to-digital converter. The higher the input level, the more it will be distorted. There will be those amongst you, I’m sure, who will say ‘And the problem with that is..?’ However if the goal is to only colour the sound with the crushing/downsampling and nothing else, the option is there to cut the input down to size.

Now GO MAKE SOME NOISE!

Dimensions

Width: 10HP / 50.50mm
Height: 3U / 128.50mm
Depth: 20mm
Weight: 135g
Power

16-pin Doepfer/Eurorack
PTC fuse and diode protected
+12v: < 45mA
-12v: < 12mA
+5v: < 45mA
Impedance

Output: 1k
Input: 100k"

Twin Akai Rhythm Wolf In the Wild

via Richard Devine on The MATRIXSYNTH Lounge

Wolfs or Wolves?

RARE - DDRUM PLUS Clavia Vintage Drum Module Synthesizer Similar to Simmons SDSV SN 911235

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

via this auction

"For sale is the Rack unit with Modules and Power Supply.

KICK
SNARE
RIM (SNARE)
TOM 1
TOM 2
TOM 3

(Plus of course the Power Supply/Headphone Module)

Each channel has 4 kits. With ‘Pitch’, ‘Bend’ ‘Decay’, ‘Treble’, ‘Bass’ and ‘Level’ options."

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