"This is a Sequential Circuits Six-Trak six-voice analog synthesizer. This 80's vintage synthesizer features a sequencer with 2 800 note memories, arpeggiator, 100 voice programs with 35 adjustable parameters each, and MIDI in and out."
"I have been very privileged to test, advise, and consult with Paul at Bad Dog Designs on this brilliant drum synthesizer. Taking circuit designs that were over 40 years old, published in E&MM magazine, Paul has recreated and refined these three drum synth designs to create OSPRAY-8, a "vintage" 21st century drum synthesizer.
Four drum modules, three cymbal modules and a clap module, triggerable via MIDI or CV and with a stereo audio output or individual mono outputs per drum, this is the sound of the nascent analog drum synth of the 1980s in a beautiful handmade case.
For more information and details on how to get your hands on one, contact Bad Dog Designs to register your interest.
"After about 4 months on and off, I've got my percussion Synthesizer in a state where I'm happy with the look and sounds :)
All original 1980's circuit designs with just a few component changes for later IC's, and of course Midi In and through as well as individual trigger inputs.
The OSPRAY-8 ( Old School Percussion Right At Ya! ) comprises 8 individual modules, arranged as 4 X Drum modules / 3 X Cymbal modules / 1 X Handclap module. There is then a final control module that handles midi, midi channel selection and Stereo output.
The Drum Module can generate a multitude of sounds from Bass drums to Snares, Toms, Rimshots, bleeps and other weird and wonderful sounds.
The Cymbal Module can generate Open and Closed Hi-Hats, Gongs, Cowbells as well as other metallic oddness.
The Handclap does as it says, but will generate multiple claps with full control of frequency / resonance / ambience etc.
As each module has it's own line out and trigger in, you can join two together, so you can combine a handclap with a drum and get a really sharp and punchy snare for example.
The front panel is machined from a single piece of aluminium, the lettering engraved into the surface for a well engineered finish. The Casing is still in development, but you can see a mock up in the clip. All the audio is straight out of the OSPRAY-8 with no processing."
"The Ospray-8 is a fully Analogue percussion synthesizer, housed in a free standing desktop format. The sounds are produced by entirely analogue electronic modules, tailored for different percussive sound types. The Ospray-8 contains 8 modules connected together, comprising of 4 X Drum Modules, 3 X Cymbal Modules and 1 X Handclap module. There is then a housekeeping module that handles midi control, and stereo outputs."
from Dani: "When I take inventory on why modular synths remain compelling to me, it is because the format puts one in direct conversation with _voltage_. As mentioned in other videos, every signal in a modular synth is voltage -- some of it moves quickly enough to hear, some of it moves slowly and is excellent for modulation, but pushing this common denominator to its edges often leads me to make choices that a computer or desktop synth simply cannot facilitate with the same improvisational ease. But I also love working with computers as an end-of-chain glue -- not just for editing or effects, but to bring a new set of possibilities to the playground.
This video is a supercut of two processes:
a. The core is a conversation between Cold Mac and Just Friends. Just Friends provides cycling envelopes and pulses, which run through a self-patched Cold Mac. Though Cold Mac is primarily known as a utility module, cross-patching its wavefolders and slews creates gnarly delights out of simple input signals. Adding the inherent rhythmic interrelation of envelopes from different channels of Just Friends to the mix can quickly create a fuzzed-out chaotic drum machine with low subs and bursts of noise. Modulating SURVEY, both by hand and voltage, reveals a world of timbral shapes.
b. While (a.) was exciting and revelatory, it was missing something. Whenever I sequence drums, I love to layer percussive hits with additional samples -- so I took to @kriista's Data Knot, which packages FluCoMa's real-time descriptor analysis tools into an army of useful Max/MSP objects. Data Knot allowed me to use audio from my 'utility drum machine' to crawl through slices of @natesmithdrumsofficial's Pocket Change and a Bonnie Raitt isolated vocal track, which filled things out in a really fun way.
Both the original modular-only recording and the responses of Data Knot are layered to create this hybrid result which, to me, feels really organic and fluid."
"I know that sounds over the top - but it’s true.
It taught me to listen more deeply.
To embrace imperfection.
To find creative flow again, and more importantly… to find JOY in my music-making again.
Rediscovering the joy of experimenting, exploring, and making weird sounds just for fun. 🙂
I’m teaching a free online class next week – it’s equal parts about getting started with modular synths, AND about simply giving yourself permission to experiment and play.
Permission to try something new.
Permission to follow your curiosity and see where it leads.
If you’ve been curious about the world of synths but not sure where to begin, this class was made for YOU.
It’s free, it’s beginner-friendly, and you don’t need any special gear.
Go to the link in my bio if you’d like the link to register."
"When I was first learning modular synths, people would tell me that the best way to learn was to “just plug cables in, turn knobs, see what happens—you’ll figure it out!” Even today I sometimes get messages when I share my online modular synthesis course, saying “Who needs a course to learn this? Just plug cables in!” On the one hand, I completely agree that exploration, experimentation, & play are super valuable parts of learning any new instrument, & you CAN get really far with modular just by listening, turning knobs, & seeing what emerges. But—I also remember how I personally felt when I was told that as a beginner. I’m sure their intentions were for me to feel inspired, lighter, & less concerned with “getting it right.” But instead? I felt paralyzed. “What do you mean, just plug things in!? Where do I even begin? What if I break something?” I’m sure this works for some; but for me the lack of guidance made me lock up & get super nervous. Instead of experimenting, I felt overwhelmed & stupid for not “getting it” right away. I’m sharing this because I’ve realized over the years that this isn’t unique to me. Some folks work well with exploring & others thrive in a more structured environment. I create all my synthesis classes for folks in both worlds, who want to get deeper into their music-making AND want support to help them get there. The amazing thing is that for SO many of the ppl who initially feel overwhelmed, as soon as they’re given step-by-step structure & support they immediately feel more empowered to experiment—& from there? They take off 🔥🚀 PS: If you haven't heard yet, I'm running a free live workshop (online) next week, all about getting started with modular synths—with clarity and confidence, instead of overwhelm and doubt. I'll share the first steps to getting started, a simple process for building synth patches, how to develop your sound design skills, and we'll have an open Q+A to address any of your questions live! Go to the link in bio for the link to register! 🥳"
"Machinedrum Sample Pack https://akihikomatsumoto.sellfy.store... The Elektron Machinedrum, first introduced in the early 2000s, was not simply a drum machine. It was a digital architecture built to generate percussion with surgical precision and metallic sharpness. Its synthesis models produced results that went beyond drum programming, moving into the territory of sound design. Even today, no software plugin has managed to fully replicate its distinctive texture. This collection captures that uniqueness. Every sample was recorded directly from the Machinedrum itself. No external processing, no layering. What you hear is the circuitry of early Elektron design, distilled into one-shots that highlight the instrument’s raw identity.
