"The Minimoog has the voice many of us first fell in love with: a fat bass that sits under everything, a lead that cuts through any mix, a filter you can play like a second instrument.
The CA-72 by Idle Foundry rebuilds a 1972 Model D from the inside. Every board was transcribed from the service documents into SPICE netlists, and the real-time model was derived from those simulations and calibrated against a real instrument, so the oscillators drift, the ladder filter sings and the mixer breaks up the way the original does.
Its front panel opens right below the Retromulator rack. LO, HI and ULTRA quality trade CPU for detail, and offline bounces always render with the 4x engine. DOUBLE, SPREAD and ENTROPY add a detuned twin, stereo width and the small differences between two real units. Presets are .fxp files in Factory and User banks with .fxb bank import and export, selected by MIDI Program Change, and every panel control answers a MIDI CC."
"SIDE FX: 14HP Eurorack multi-effects module. Reverb, delay, granular, pitch shift and glitch in four chain-able blocks, with CV, clock and MIDI control.
IDE FX is a QUAD ALGORITHMIC FX PROCESSOR, using four effects BLOCKS in parallel / serial combinations for ultimate creative flexibility."
0:00 Introduction
0:15 Big Spaces, Tiny Spaces, Dirty Spaces, Doomed Spaces !
0:44 PRESET: "Behind You"
1:25 PRESET: "Pitch Swirl"
1:37 Dual Pitch Shift
1:59 PRESET: "Melancholia"
2:21 Pitch Shift Delay, & Glitch !
2:50 PRESET: "Old Tape Echo"
3:15 Modulators
3:49 Preset Edit
4:16 Granular - Vocal Crowd Generator
4:32 PRESET "Ghost Trails"
4:50 Multi Tap Delays
5:33 PRESET "Follow Echoes"
5:43 FX Send Mutes !
6:21 FX Process Blocks List
Explaining and testing RYK Side FX
video upload by Stazma
"Today we check out the newx multi effect module by RYK Modular: Side FX
This one seem to draws a lot of inspiration from the H 3000 "Ultra Harmonizer" by Eventide even tho it's not a clone at all. It let you use four effects and route them in many different ways using algorithms that look very much like the ones you would find in a 4-OP FM synthesizer (who said Algo?!).
It's a great module, very powerfull and quite easy to use even for someone like me who does not like screens on modules."
via RYK
Want a Pitch Shifted delay into some lush Reverb, with a bit of Chorus for good measure ?
How about some Phaser action into a Glitch effect, and a dollop of Bit Crush to taste !
SIDE FX lets you process up to four effect BLOCKS via different algorithms, to create complex, deep evolving effects to envelop your music in a rich syrup of your choosing.
It comes with loads of PRESET FX chains, from ear-mangling grit, to subtle presence, to brain-melting time-space freak-outs.
Or you can create your own PRESETS and save them to the internal SD Card, share with friends and impress your enemies.
Four user-definable CV inputs are available for modulating any parameter, along with a Clock Input for keeping things tidy and time-synchronised, oh, and a MIDI input for all of the above!
"In this video we'll be exploring dynamics processing, learning about functions that are typically a music production and studio tool and applying them to Eurorack sound shaping and getting creative within a modular environment.
Dyn is a new module from Timo Rozendal made in collaboration with Surreal Machines with DSP based on their plug in 'Crack'. It's a 14HP stereo noise gate, transient designer, maximizer, limiter and clipper. There's lots of hands on control and easy to assign CV control too."
Timo Rozendal Dyn
Dyn from Timo Rozendal is a stereo transient shaper that's exceptional at creating hard hitting percussion or dialing back overly aggressive transients in your mix. It includes a suite of dynamics processing tools based on Surreal Machine's Crack plugin and optimized for drum sounds. A transient shaper is a specialized kind of limiter with an ultra fast attack stage envelope that works primarily on hard spikes in volume such as the initial impact of a stick hitting a drum.The large attack and sustain knobs provide the core parameter adjustments on Dyn. Lower the attack time to create sharp hits that cut through the mix, or increase it to smooth out harsh transitions. Adjust sustain to control the body of the hit post-transient, either making it fuller or tighter. Use the noise gate to reduce the level of quieter sounds between hits, crank the maximizer to push the overall level, and adjust the limiter to set the peak. Blend in your dry signal with the processed sound for parallel processing of your sounds. At the end of the chain, a clipper controls the final output level. Route an external CV source to any of the main parameters to add additional automation. Dyn from Timo Rozendal perfectly pairs with your drum voices or samples, particularly when you need them to stand out in the mix.
Let's start with Pitch. This moves through the endless pitch sweep, wrapping around every octave to create that continuous Shepard-tone illusion.
Count controls the number of grains in the sound. Length changes the size of those grains.
Layers changes how many octave-spaced layers make up the Shepard tone, while Fade gives you different ways those layers can move and crossfade into one another.
And send a gate to Hit and all of those octave layers come through together.
Ovis can make your Legio endlessly rise, but when you're ready to come back down to Earth, a quick USB swap can turn the same module into a synth voice, percussion voice, wavefolder, dynamics processor, and lots more.
23 Firmwares.One Legio.
Visit noiseengineering.us or your favorite retailer to get a Legio module in your case."
"Welcome to episode 02 of my Plexiphon exploration. I must admit I’ve been a bit underwhelmed by it because I was hoping for more like a network behavior where sounds from the past could suddenly return into its input.
Kind of like Mimeophon’s long repeat that remembers almost a minute. It became more and more clear that Plexiphon is indeed an Erbe-Verb V2. Even the CV out is ultimately intended to ‘push back’ the infinite wash so it can be controlled. I guess it’s now a stereo space folder, and once you accept that, it’s quite a cool and creative reverb. But that’s not why I run this channel. People who got themselves a Plexiphon most certainly also have a Mimeophon. And if not, one should at least consider adding one, so one can build yourself a Mimeoplexus. This basically answers my question why there isn’t a bit more ‘plexus’ in the Plexiphon. It’s because Mimeophon already took care if it a long time ago.
In this patch, I’ll use a mono source. In this case, I’ll pick Plonk again so it’s easier to follow what happens to a single mono modal ‘plonk’. MP’s left output goes to left PP input. MP’s right output goes to case out. And then: the loop: PP’s left output returns to MP’s right input.
PP’s right output goes to case out. So the combo pans a bit hard L/R, but the reverb runs through a feedback path. PP can now ‘save itself’ in MP’s long buffer and it can receive its own output many seconds later. Meanwhile, MP can change the delay times, direction, skew, colors, etc. We can’t just fold space, we can fold time too, and make it run backwards.
Now be honest, when was the last time you could creatively mess with relativity?"
This Patch is from my Forthcoming custom bank 'ALPHA 6' for the @ISLAelectronics ASYX, I have just completed some sounds that will be included in the factory bank. And decided to continue on and make more for my site :)
Please stick with this one, it just keeps building, and wait until you hear the low end!!
"I decided to try building one of the kits from MadLab. This is the Scuttlebut, a basic 2 oscillator synth with a simple interface. It's not super powerful, but it's a fun little build.
