Eurorack: Carillon into Arbhar (with Prophet 6, Mother-32, Zero-G Ethera)

video upload by lucafrancinimusic

"Tonight I've played a little carillon into Arbhar, then I've started to add more sounds over it and this is the result. Patch notes in the video!"

Oberheim OBX8 Four patches - Written comment

video upload by SMV Producer

"Here are 4 patches for this incredible synth.
You can download them for free from my Gumroad page.
Sound banks for Arturia MatrixBrute, Waldorf Quantum/Iridium, Prophet 5/10, Moog One and Oberheim OBX8 are available for purchase at:
https://gumroad.com/smvproducer"

Sequential PRO 3 Demo (no talking) Moons Sound Pack: Presets for Ambient, Electronica and Techno

video upload by Limbic Bits

▶ Online shop with Patch Banks for Ambient, Techno, IDM, and Electronica: https://limbicbits.com

0:00 Favorites
4:32 Pads
10:35 Dub Chords
13:44 Bass
18:01 Lead & Arpeggios
28:10 Textures, Drones & FX

Sinusoda Modular Eurorack Cases w/ Side Panel Module Slots

video upload by Ebotronix

Video and pics in via Ebotronix. You can find details on Sinusoda cases at https://sinusoda.com.

"with these cases it's possible to use both sides of the case to build in modules. (see photos)

Doepfer R2m , 2x A 101-8, A111-4, A 110-4, A 126-2, A 121-3, 2x A 134, A 171-4, A 177-2 (2x)
Strymon 2x Cloudburst
Mutable Instruments Shades , 2x Ripples V2, Veils,
Tunefish Modular 2x µVeils, µPeaks, µ Braids, Ornament and Crime (Dorian Scale)
4ms Peg
Joranalogue Filter 8
Sinusoda Cases"

Is the OXI Instruments Coral the Only Multitimbral Synthesizer Module for Eurorack?

The following is the latest press release from OXI Instruments for their new Coral eurorack module. It claims that Coral is the only "multitimbral synthesizer module marketed for Eurorack", but there are others as you can see in previous posts here, including the Mayer M800 (16 voice in 4 parts), Ryk Vector Wave (16/4 as well), Percussa SSP, and Rossum Assimil8or (8 part though sample based). If you know of others, feel free to leave a comment. Regardless, OXI Instruments Coral is an impressive module. You can find demos of it in previous posts here.

The press release follows:

OXI Instruments introduces Coral as only multitimbral synthesizer module marketed for Eurorack, empowering users to create basslines, drones, drums, pads, and riffs

NIGRÁN, PONTEVEDRA, SPAIN: having hitherto made musical waves with its inaugural OXI One product release as a battery-powered performative sequencer, controller, and composition tool with four fully-independent sequencers (originally raising 1,178% of its fixed funding goal with American crowdfunding website Indiegogo in 2021 and regularly updated with new features since shipping), inspirational and innovative music-making tools-crafter OXI Instruments is proud to announce (limited stock) availability of Coral as the only multitimbral synthesizer module marketed for Eurorack — embracing eight-voice polyphony (freely splittable into different parts and allowing every parameter to be independently set for each voice or part) and several sound engines (each assignable to different voices) all accessible via a colourful, organic interface arranged around an anodised and beautifully silk-printed aluminium panel, premium finished with custom aluminium knobs, empowering users to create basslines, drones, drums, pads, and riffs while effortlessly manipulating voices independently to craft complex patches out of the box — as of August 30…

Ultimately utilising lots of computing power to deliver rich-sounding engines in an eight-voice package that could conceivably be termed the ultimate multitimbral synthesizer — depending on the sound engine involved, one voice can have up to eight oscillators, meaning up to 64 oscillators playing at once making for a massive sound, for example, Coral can be played in a number of ways. While it is fair to say that it breaks free from conventional polyphonic synthesizer behaviour, Coral can conveniently be played polyphonically using only one CV (control Voltage) and gate connection, allocating a new voice every time it registers a new note — be that part of an arpeggio, strummed chord, or pad with long decayed notes — on the oct (V/Oct) input. Independent filter, amplifier, and modulation envelopes are available to each of those voices — in fact, every parameter can be independently set for each voice, including individual effect sends! It is also possible to play all eight voices in unison — all voices playing the same note for drones and thick textures, as well as triggering the internal envelopes with the trig input or directly controlling the amplifier level with the amp CV.

Coral also benefits from full MIDI (Musical Instrument Digital Interface) integration, meaning multitimbral operation is a given while also allowing for control over any part’s parameter via MIDI CC (Continuous Controller) commands. Indeed, its eight voices can be freely split into different parts; this time, every parameter can be independently set for each part to craft complex patches out of the box. But there’s more: once those voices have been grouped across different parts, users can distribute the modulation signals across them using the part CV; so, for instance, if there are two parts, the first part will be addressed if the part CV voltage is between 0 and 2.5V while the second will be addressed if the voltage is between 2.5 and 5V.

But better still, several sound engines can be assigned to each of Coral’s voices; included instances available from the outset are Virtual Analog, Waveshaping, FM (Frequency Modulation), custom Wavetable, MDO (Multiple Detuned Oscillator), String, HiHat Synth, Snare Synth, Digital Kick, and Wav Player, now boosted by new Additive with Wavefolder and Diode Distortion additions. As one such sound engine implies by name, Coral supports almost any kind of WAV file — 16-, 24-, and 32-bit mono or stereo — with no limit to playback time! Thinking outside the box comes easily when working with Coral — add overdrive to samples, sculpt them using the filters and envelopes, pitch them up and down in tune, and even modulate the sample file or folder in real time using the CV inputs or MIDI CC commands! It is possible to load any wavetable WAV file to the SD card for Coral’s Wavetable engine; wavetables can even be morphed into three dimensions using OXI Instruments’ OXI Wave app — based on the amazing Wave Edit app created by Andrew Belt — that makes creating and editing them both fun and interesting in equal measures.

Clearly, Coral can go far beyond the realms of a conventional polyphonic synthesizer, then, thanks to the comprehensive voice management and manipulation on offer. On the face of it, those powerful sound engines speak volumes in and of themselves — as does Coral’s full-featured polyphonic sample playback plus built-in space (deep atmosphere) and chorus (rich ensemble) effects potential. It is, indeed, the only eight-voice polyphonic, multi-engine, multi- part synthesizer module marketed for Eurorack, one whose freedom of voice management is even hard to match in desktop gear. Going from rich polyphonic patches to a fully-fledged groove box with basslines, drums, and leads comes quickly to Coral, which, of course, can be fully controlled using MIDI and CV — or both! All available to all in a compact (14HP) form factor for a reasonable price — particularly when pitched against a conventional polyphonic synthesizer.

“The introduction of Mutable Instruments’ Plaits module was a revolution in terms of compact, multi-engine synth voice modules,” maintains OXI Instruments CEO & CTO Manuel Vázquez Rodríguez, good-heartedly giving credit where credit is due before digging deeper to end on a high note: “Thanks to their open source contributions, we have taken some of their algorithms and put them into a tasty, compact package that contains eight ‘instances’ of that module with custom-developed engines alongside new ingredients like independent envelopes and filters per voice, effects, full MIDI implementation, and a colourful, organic interface. On top of that, custom wavetables and a sample playback engine are also available per voice. But we didn’t want to just create another polyphonic synth, so, to allow users to make the most of every voice, we’ve introduced the multi-part concept. Consequently, users can arrange and use the eight voices as they wish — with eight monophonic parts, one polyphonic part of eight voices, or any combination thereof, such as two polyphonic parts of three voices each, plus two monophonic voices in the same module, meaning Coral can be corralled into acting as a versatile and powerful polysynth, drum machine, groovebox, and sound exploration module... all at the same time! We won’t stop there, though, adding more features in future through regular firmware updates — just like we’ve been doing with OXI One!”

New Bugbrand NSH - Noise, Sample & Hold & Red Phase Shifter Modules

via Bugbrand

"NSH stands for Noise, Sample & Hold – a module which features analogue Noise and a pair of Sample & Hold processors.

The Sample & Hold circuits are identical, each with Input, Output & Clock input (with internal comparator, trigger level c.+1V). The Source Input can be set to either an external signal or takes the White Noise source direct. The S&H can be run at audio rates for ‘bug-crushing’ (analogue sample-rate reduction – NOT bit-crushing).

The Noise section is standard transistor-based White Noise, with a second Filtered output which passes through a simple tilt filter around 1kHz cutoff."

via Bugbrand

"The Phase is a 6 pole, analogue Phase Shifter designed for hands-on sonic thickening. Made up of 12 All-Pass Filter stages, it features fully balanced Input/Outputs, Feedback, and Modulation from an internal LFO and/or external sources. All in a very playable design, stemming very much from the blue Phaser module.

Check the Block Diagram image. The main Input is designed for typical line level signals with variable gain up to 20dB and soft-clipping so you can add some overdrive if desired. The Feedback input stage is similar but without the variable gain – it is normalised from the Phase output & plugging a jack plug in breaks this normalisation. The buffered input signal is split off to the Phasing stages and the dry signal also passes on to the output mixer where it mixes with the Phase stage outputs. The Phase stages is also buffered to provide a pure wet output.

The magic of All-Pass Filter stages, here built around three of the ever versatile 2164 quad-VCA chips, is that they alter the phase of signals at their filtering frequency while preserving their amplitude. (With a pure sine-wave, this would look like the waveform being shifted in phase from the input – but you’ll rarely be putting in a pure sine!). When you mix together the dry & processed paths, frequencies cancel each other out to create peaks & troughs in the frequency response. The main Phase control, combined with any modulation, sets the centre frequency for the filtering and covers the whole audio spectrum.

Dialing in Feedback passes the phase-stage output back around to its input (via a normalised jack connection – allowing experimentation with further external processing) which emphasises the filtering up to the edge of resonance. The Add/Subtract switch inverts the phase output & the feedback input to give two different response modes and there is also an internal jumper that allows some subtle behavioural differences by putting the feedback into either the first or second filter stage (set as standard to 2nd stage, down position, but… experiment!).

Static filtering (ie. without modulation) can be used to highlight particular frequencies, but bringing in modulation is perhaps the more readily audible approach – give it some movement! The internal sine-wave Low Frequency Oscillator (LFO) covers traditional sweep modulation (range approx 0.08-10Hz), but more interesting usage can be found with external sources such as sequencers etc. Note that when switched on initially, if the LFO Rate is set low then the oscillations will take some time to build up to full strength, so you may want to turn the control up full until the LED indicator is clearly blinking. The LFO also has a banana output jack (+/-5V). The External Modulation input takes a CV input (typically 10V peak-to-peak) and has a convenient polarity/mute switch. See the Understanding signals & voltages and Interfacing with Bananas pages for further technical details."

Art of noise, Moments in love (short cover)

video upload by fischek

Gear:
* Korg Wavestate
* Samsung Galaxy Z Fold 3 (controlling Ableton)
Various samples, the most important being the famous ARR1 Fairlight CMI sample (the voice sound).

Bioelectric Skiff Project | First Hike with the Battery-operated Eurorack

video upload by Musical Miscellany (Poorness Studios)

"I posted a few videos about putting this battery-operated modular synth together [see here] and now I'm taking it into a TX State Park for a jam. The plant is the foreground is supplying the melody and the Sound Scaper (from Error Instruments) handles the metallic drone. Both are running off a USB power bank."

The Most BORING Spectraphon Patch

video upload by MAKEN0ISE

"Unlike the Morphagene and Mimeophon, which record/play/repeat literal reproductions of sounds, the Spectraphon synthetically recreates the spectral makeup of sounds. Thus instead of sounds being 'replayed' they are 'reborn' as new spectra in an environment where they are cut loose from their origins.

Given all this, let’s speculate that the most boring thing you could do with a Spectraphon is re-create the same sound that is modulating it. Of course, on the most basic level, any recording device can do that. My phone can do that. Doing it with the Spectraphon is a bit of a catch 22. If it succeeds, then we’ve failed at doing anything interesting. If it does something interesting, then we’ve failed at … succeeding. Let's try anyway!!

http://www.makenoisemusic.com"

XPO Tutorials | Episode 03 | Make it HUGE

video upload by Cinematic Laboratory

"After 10 months of XPO silence it's time to make some noise. In this episode I'll make a huge distorted analog lead without using a distortion. Just the six stereo L/R outputs will do. However, with the help of a 2nd oscillator 'sync' (Spectraphon) you can get some amazing distorted jittery sounds that can make a serious lead. You can also mellow it down to a deep drone with the help of a filter.
In the second part of the video I used Morphagene to create three layers but it would take 20 minutes to listen to them one by one, so I mixed them up into a composition that's worthy of going to my BandCamp 'ever growing modular album'."