Roland R-8, Bass Bot TT-303, Korg Synthepedal FK-1 demo by Jordan Passmore

Published on Oct 23, 2014 Jordan Passmore

"This demo features the Roland R-8 drum machine (w/ "Dance" card, featuring a few of the sounds of the Roland CR-78 and TR-808 Hand Clap), Cyclone Analogic Bass Bot TT-303 (as you can guess by the looks of it, a Roland TB-303 clone) bass synth and Korg Synthepedal filter module. The first portion of the video features the normal sound of the TT-303, then, the 303 ran through the Synthepedal. The Synthepedal is a bandpass filter similar to those found in the very early Korg analog synths (770, 800dv, etc) with an envelope follower to track incoming audio. The envelope modulation affects both the high and lowpass filters at the same time creating a fairly unique squelching sound that suits the 303 very well. All of the hardware is mixed on my Studiomaster Pro Line mixer (I am using the multi outs of the R8 to to control the levels of each drum separately via the mixer). On the aux busses I have a DOD R-845 Spring Reverb and a Washburn A-09 Analog delay.

The Synthepedal was modified by the previous owner. If anyone has some original spare Korg knobs/sliders around (early Korg prefered but even if it's MS-20/Polysix-ish) I am interested!"

KORG volca sample:first session

Published on Oct 23, 2014 Masaki Takada

"with x0xb0x(powerd by gizm0x)
#dailybassline 2014/10/24"

Korg Volcas on eBay

The Horrorist Presets for the Arturia iSEM

Published on Oct 23, 2014 Oliver Chesler

"Read the interview here: http://www.arturia.com/company/news/a..."

iTunes: Arturia iSEM - Arturia

Roland SH09 Analogue Synthesiser

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Sequential Circuits Prophet T8

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Korg X-911 Vintage Guitar Synthesizer SN 272305 with Original Box & Japanese Overlay

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"The Korg X-911 is a very underestimated synth. What it was intended to be, was a stand alone guitar synthesizer. What it now represents, in these enlightened times, is an all analog, quite unique, signal processor/effects unit. Whereas a true guitar synth really requires its own dedicated pickup arrangement, this unit simply accepts a standard 1/4" jack input. Just patch your guitar, microphone, or other instrument into the X-911 and play one note at a time. Sporting both CV/Trigger inputs AND outputs, these features alone, make it quite a useful little toy."

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Vintage Korg SB 100 Synthe Bass Analog Synthesizer

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New Doepfer A-160-2 Clock/Trigger Divider II Eurorack Module

"Module A-160-2 is an enhanced version of the standard clock divider A-160. The module is a frequency divider for clock/trigger/gate signals, designed to be a source of lower frequencies, particularly for rhythm uses. The Clock input will take any digital signal from, eg., an LFO, MIDI sync, or the gate from a MIDI-CV interface. At the outputs, you have access to three sets of seven different sub-divided clock signals, from half the clock frequency down to 1/128. The low/high levels of the output signals are 0V and about +10V.
The A-160-2 also has a reset input. Whenever a reset signal is sensed, all outputs are set to certain levels which depend upon the selected mode.

These are the most important features of the module:
Three different sets of dividing factors, selected by a three-position switch at the front panel:
power of two: 2, 4, 8, 16, 32, 64, 128
prime numbers: 2, 3, 5, 7, 11, 13, 17
integer: 2, 3, 4, 5, 6, 7, 8
Two output modes, selected by a two-position switch at the front panel:
Gate mode: outputs act like the outputs of typical binary dividers
Trigger mode: in this mode the outputs are AND-wired with the clock signal (i.e. the clock pulsewidth affects the pulsewidth of the outputs)
Clock edge type selected by a jumper on the pc board:
positive: the rising edge of the clock signal triggers the state change of the outputs
negative: the falling edge of the clock signal triggers the state change of the outputs
Reset behaviour by two jumpers on the pc board:
level triggered: the level at the Reset input triggers the Reset
edge triggered: the edge of the signal at the Reset input triggers the Reset
positive: a high level (> 2.5V) or the rising edge at the Reset input triggers the Reset
negative: a low level (< 1 V) or the falling edge at the Reset input triggers the Reset Output polarity selected by a jumper on the pc board: positive: non-inverted outputs negative: all seven outputs are inverted"

http://www.doepfer.de/a1602.htm via PatchPierre.Net

New Doepfer A-110-4 Thru Zero Quadrature VCO Eurorack Module

"A-110-4 is a so-called Thru Zero Quadrature VCO. The term "quadrature" means in this connection that the oscillator outputs sine and cosine waveforms simultaneously. The term "Thru-Zero" means that even "negative" frequencies are generated. But this a bit a misleading term as negative frequencies do not really exist. "Negative" means in this connection simply that the sine/cosine waves will stop when the linear control voltage reaches 0V and continue with the opposite direction as the linear control voltage becomes negative and vice versa.

The module has two control sections: linear and a exponential. The exponential section consists of the XTune control, the 1V/Oct input and the XFM input with the corresponding attenuator XFM. The exponential control voltage is the sum of these three voltages. The linear section consists of the LTune control and the LFM input with the corresponding attenuator LFM. The linear control voltage is the sum of these two voltages. A dual color LED is used to display the polarity of the linear control voltage (green = positive, red = negative). The resultion pitch of the sine/cosine outputs is determined by the resulting control voltages of both sections. The linear section is used to control the pitch in a linear manner. When the LTune control (LTune means Linear Tune) is fully CW the module works like a normal Quadrature VCO (e.g. like the A-143-9) and the LED lights green. The pitch is then controlled by the exponential section with the manual Tune control and the exponential frequency control inputs 1V/Oct and XFM. 1V/Oct is used to control the pitch by a 1V/Oct CV source (e.g. sequencer or Midi/USB-to-CV interface). XFM is used to apply an exponential frequency modulation with adjustable depth (e.g. from an LFO or another VCO). As the LTune control is turned counterclockwise starting from the fully CW position the frequency is lowered in a linear manner until the sine/cosine waves stop near the center position of LTune (provided that no LFM signal is present). As the LTune control is moved from the center towards the CCW position the waves start again but into reverse direction and the LED turns red. When the fully CCW position of LTune is reached the module works again like a normal Quadrature VCO. But much more exciting is the usage of the LFM input to modify the linear control voltage by an external control voltage (typically another VCO). Linear modulation by another oscillator using the thru zero feature generates audio spectra than cannot be obtained from an oscillator without the thru zero function. The reason is that a "normal" VCO will simply stop as the linear control voltage becomes zero or negative. But a thru zero VCO will start again with "negative" frequencies as the the linear control voltage becomes negative.

The main advantage of the A-110-4 compared to other Thru Zero VCOs is that the design used a sine/cosine core. The sine/cosine waves are not derived from other waveforms (e.g. sawtooth or triangle) by means of waveshaping. Rather the sine and cosine waves are the core of the VCO which results in very pure waves with a minimum of distortion and overtones."

http://www.doepfer.de/A1104.htm via PatchPierre.Net

Modular Jam #17 - Beats & Pieces

Published on Oct 23, 2014 DivKidMusic

"So here's my latest patch that I've been jamming with and trying things out. As always fire away with any questions in the comments and hit subscribe for more videos every week! Full patch notes below.

Part 1
An intellijel Dixie triangle wave is sent to the AniModule V9a and scaled with the on board offset and attenuator to create some pendulum style sequencing with the VC input for the V9a (as opposed to clock input). The CV output from the 9 steps are sent to an RYO AmpMix for simple attenuation and then scaled back before going to an ADDAC 207 Quantizer. The quantizer output goes into a Mutable Instruments Braids 1v/octave input with automatic triggering for the DRUM mode. The quantizer's trigger output go into a Mutable Instruments Branches to inject some random movement not always passing the triggers through the same output and output A goes into a Mutable Instruments Peaks is envelope mode sends an ADSR to Braids colour modulation input. Braids Timbre is modulated by a Frequency Central System X Sample & Hold which is clocked from an AniModule TikTok receiving it's clock from the VC sequence generated on the V9a. Braids output goes into a Mutable Instruments Ripples filter with cut off modulation from the System X Sample & Hold and the second channel of Peaks in TapLFO mode. The TapLFO function receives it's clocked from the TikTok module. The Ripples 2 pole low pass output goes into a Make Noise Echophon with the mix amount modulated by a Bubblesound uLFO's shaped sine output. The Echophon's pitch depth is modulated from a second quantizer channel playing the same sequence as the original pitch sequence going to Braids. The Echophon's echo time is modulated from the System X Sample & Hold as well. The main clock for the Echophon is the AniModule TikTok. The Echophon's freeze function is from the uLFOs pulse output. Finally the Echophon's output goes into an Erica Synths Polivoks mixer module.

Part 2
A second Intellijel Dixie's sine output goes into a Bubblesound VCA4p with FM modulation on the Dixie from a Doepfer Quad ADSR with the same envelope modulating the amplitude on the VCA4p. The VCA4p output goes into a Doepfer A-199 spring reverb with the output going into a Synthrotek EKO module which has echo time modulation from the uLFOs shaped sine output (also modulating the Echophon for Part 1). The EKO output then goes into the Polivoks mixer.

Part 3
The AniModule TikTok sends a clock into the 4ms RCD and SCM and 4 outputs are mixed in a Doepfer A-151 sequential switch with a slower clock division triggering the switching. This pattern is sent to a the second channel on Branches which is randomly "coin tossing" the outputs so every trigger doesn't pass and that output goes to a WMD multi mode envelope which is modulating an Erica Synths Polivoks filter with the Polivoks modulator's noise output at the input. This then goes into the third channel on the Polivoks mixer.

The Polivoks mixer is a sub mix that is added to with the output going through a Livewire Frequensteiner filter with modulation in HP mode from the System X Sample & Hold. The Frequensteiner output then goes to an RYO Vertmix (for further mixing). The Vertmix also has a second channel which is Neutron Sound Orgone Accumulator set to a noisy wave going into the AniModule SOB with steady 16th note trigger (the slight variation in the V9as output due to the original triangle wave at the VC input is most apparent here) to the CV inputs. The Vertmix finally outputs to a second A-199 spring reverb before going to my soundcard.

Manually wiggling was of the SOB filter cut off and CV modulation depth for the noise. The Braids tuning for Part 1 DRUM mode, the Polivoks mixer levels and the FX mix amounts.

I also used the AniModule LogicOgic for AND, FlipFlop and OR functions to mix and combine triggers from the 3 parts and TikTok clock divider/multiplier before hitting Branches."