"This is an early breath controller/filter module originally made for the Crumar Stratus. It can be connected to almost any vintage analog synthesizer. It has two trigger outs, three transducer voltages out, touch modular pad, bite and breath attenuators, and sensitivity adjustments. It can make almost any analog synth breath controllable.
This filter module was originally sold from 1978 - 1980. This particular module shows signs of mild rust and paint blemishes. The breath tubes are yellowed and old. It has not been tested, however, since this is an old analog synthesizer module, the components can be easily replaced if necessary. Possibly only the capacitors would need to be replaced.
The last photo of the serial number plate still has the remnants of the plastic cover on it."
"I made a calculator based on the concept of Critical Bandwidth. It returns the percentage of tonal pitch intervals given base pitch and ranges of numerator and denominator. It's to aid the decision-making for the ranges of controls on a musical instrument. As musicality lies in a range, experimentation lies on its edges, and controllability is better when the range is smaller. We do want a healthy balance of all three elements.
"Ensoniq ESQ-1 synth demo featuring sounds, patches and presets. The ESQ-1 is a vintage digital / analog hybrid synth released by Ensoniq in 1985. This Ensoniq ESQ-1 synthesizer demo showcases various sounds including pads, basses, fx, bells, strings, drums and more.
Released in 1985, the Ensoniq ESQ-1 has 61 velocity-sensitive keys, 8 voices of polyphony, 9-part multi-timbrality, 24,000 note & 8-track sequencer, 3 oscillators, 3 LFOs, 4 envelope generators, low-pass resonant filter, MIDI and storage for 40 internal patches (expandable via cartridge).
The ESQ-1's 3x oscillators are digital and use a custom Ensoniq chip to generate 32 different waveforms. The low-pass filter uses a CEM 3379 chip however does not fully self-oscillate and is only 32-steps of resolution. The VCA is also fully analog. In addition, the Ensoniq ESQ-1 can respond to polyphonic aftertouch via MIDI.
The Ensoniq ESQ-1 also features amplitude modulation, oscillator sync, monohponic mode and portamento. Programming is done via the buttons and data slider on the front panel, however changes do not take effect until the subsequent key press. Sequences of up to 999 bars can be chained to songs for massive performances.
The Ensoniq ESQ-1 has a classic digital / analog hybrid sound from the mid 80s and is a workhorse synth that continues to be loved and appreciated to this day. It is very fully featured and despite the lack of knobs and sliders, is fairly quick to edit. If you are interested in early hybrid synth sounds from the 1980s, the Ensoniq ESQ-1 is a great choice."
Great Conjunction FM synth prototype - it’s working! #synthwave #chillwave
"This is one of my favorite pieces I’ve made for a long time. I had it running for around 40 hours this week. The Norns is running my 'pixels' script, which is generating some sine wave blips. It is also sending mini note data to the Prismatic Spray which Casts a haunting melody over the top. Everything is running through the lemondrop, which chops and slices and dices."
As if there are not enough filters in the Eurorack world. Yet, here it is, something new. A dual switched capacitor filter, equipped for CV on all the things. A dual filter core no less for stereo use or for all kind of serial filter configuration shenanigans.
VCF-4 is a unique filter in Eurorack land. It’s a switched capacitor design with a lot of bells and whistles, offering a unique sound and flexible sound-scaling capabilities.
2 x 12db switched capacitor filter core Sweepable LP/BP/HP Mode +BP/-BP adjustment Self-oscillating filter Filter linking ( 1:1, octave down, 2 octaves down ) Serial or Parallel setup possible Resonance CV control per filter Filter mode CV control per filter 2x Cutoff frequency CV control per filter Big fat knobs ( 20HP )
It’s one of the modules I use a lot, so I thought it was about time to get rid of the prototypes I have in my rack and build one that looks more like the real deal. I’ve taken all good things from the first 2 versions, ditched all the bad stuff and add some new stuff. That’s a lot of stuff.
In short, It’s a percussion sound generator, with a focus on metallic sounding percussion. Cymbals, hihats, tin cans, gongs, cowbells, … you name it, it’ll do it. It doesn’t really stop there, it’s able to create quite some unique sounding percussion elements, as well as some interesting drone textures. So it’s quite a versatile thing to have in your rack.
So, how does it work. The basic sound properties are generated by 4 square oscillators going through a logic XOR gate, combined with a noise generator and external inputs. The whole lot goes through a filter to shape the frequency properties and then through a voltage controlled amplifier – still following? I’ve drawn up a little schema to clarify the whole lot a bit.
"This is one of my favorite pieces I’ve made for a long time. I had it running for around 40 hours this week. The Norns is running my “pixels” script, which is generating some sine wave blips. It is also sending MIDI note data to the Prismatic Spray which casts a haunting melody over the top. Everything is running through the lemondrop, which chops and slices and dices."
"This is an early breath controller/filter module originally made for the Crumar Stratus. It can be connected to almost any vintage analog synthesizer. It has two trigger outs, three transducer voltages out, touch modular pad, bite and breath attenuators, and sensitivity adjustments. It can make almost any analog synth breath controllable.
