"Waldorf Microwave 1 revA with CEM 3389 VCF filter, VCA and OS V2.00 the most desirable version rarely come up these days extremely versatile and beautiful unique sounding synth if you are look for that PPG wave sound this is the one to go for in a rack and does not cost the kings ransom!"
"What's up everybody? Today we're going to look at a DIY synthesizer module from Barton Musical Circuits that we recently finished building, the BMC034 Switched Resistor Filter."
"Here once again, I've sync'd the home brew sequencer I built for the Moog drums to the clock on the Q960 sequencer. All four 700 series modules are used in this one along with the Minimoog... and you can't beat a *real* Minimoog. Don't ever let anyone tell you any different...!"
"Wow, this one turned out to be a lot of fun! As you can hear, this patch is capable of a wide range of craziness – all without using any "support" modules, and without any added reverb or other out-of-the-rack effects. (show more)
I figured the "obvious" way to go here, would be to use Ears' contact mic as a sound source, filter the audio through Ripples, and tag on the Clouds as a delay/reverb effect at the end. So, naturally, I decided to do something completely different. :)
Patch notes:
This is basically a feedback loop, from Clouds' output via Ears, through Ripples' 4 pole LPF, and back into Clouds. For most of the patch, though, Ripples' resonance is at full, which means it produces sine tones – the audio input is virtually inaudible at max resonance.
However, by using Ears' envelope follower output to control the gain on Ripples, there's still a feedback response, even when the audio input is drowned by the resonance peak. I think it's easy to forget that Ears is more than just a contact mic/external audio input. Its envelope follower and gate makes it ideally suited to control feedback loops in this manner.
The sine tones/fed back audio is passed from Ripples to Clouds, which chops it up into grains, pitch shifts those grains, and adds reverb. I'm manually modulating the grain size, density, texture (i.e. grain envelope shape) and reverb mix level. The pitch is modulated with an audio signal from Ripples BP2 output. However, since the pitch is set "per grain", the result is more akin to a S&H pitch modulation than audio rate FM.
"This is probably the silliest three module combination I can put together: none of these modules produce any kind of signal on their own, and even with external input they're not really meant to produce sound. (Patch notes below)
Patch #1:
Noise tools generates an audio rate pulse wave, which feeds into Branches. Branches produces two signals from this input: a pulse wave at an octave below the input (ch. 1) and a sporadic series of triggers (ch. 2).
The pulse wave is then fed into the slew limter, as a basic low pass filter to smooth it out a little. It then passes to the uScale V/oct, which functions as a kind of bit crusher (disabling steps leads to a lower "bit depth"). The output from uScale is the audio signal we hear.
The triggers from Branches are used to step through a sequence of random values on the Brain Seed. These values are then sent to the uScale shift input, which causes the audio signal to sputter and jump around to different pitches and tones.
Patch #2:
I actually made this one first, but it felt a bit "cheaty" because of the heavy use of the shimmer reverb and filtering via the noise tools slew limiter, and also the uScale didn't really contribute much. Anyways, here's what's up:
Once again, the noise tools provides an audio rate pulse wave. Branches and Brain Seed are used to divide the signal into different sub-harmonics, and uScale is used to bitcrush one of the waves.
These three drones are mixed together in the Quadratt, which is what I'm tweaking most of the time, and then the sum is sent through the slew limiter/LPF on its way out to the Big Sky reverb."
"How does a beat sound going through all moogerfoogers!? This is how. Same kick, snare and hihat samples into RingMod MF102, 12 stager phaser MF103, Analog Delay MF104z, Murf MF108M, Freqbox 107.
Download the loop and each track on my soundcloud here:- https://soundcloud.com/8nomnomchomsky...
I don't have an MF 101, but I'm using the lowpass filter on the Voyager RME instead."
"I transcribed the Vako Orchestron VIOLIN disc parts from Kraftwerk's 'Franz Schubert' and put together a little demo / cover version. I cheated and used samples instead of learning the parts and playing them live on a real Orchestron, but hey, life's too short. You can get my Orchestron samples here:
I put this together in Cubase. The synth sequence is played by Retrologue. I didn't spend too much time dialing in the sound just right, but it's close enough.
The other thing I didn't take the time to do is emulate the dynamics of Kraftwerk's original Orchestron performance. I'm assuming this was Ralf just improvising, most likely with a foot pedal to control volume, because there's lots of dynamic volume stuff happening that isn't possible by just playing an Orchestron straight. It would have taken a lot of time to re-create all these dynamics, so I didn't.
I also decided to omit the "Endless Endless" coda.
The disc image you see is our own remastered version of the original Orchestron Violin disc. These are also periodically available, if you happen to have an Orchestron to play one in:
"My third tutorial video for the DSI Tempest, focusing on how to create an 808 style snare sound using Osc 3 for digital noise, Osc 4 as a sine tone, and Osc 1 for a little bit of analog noise.
