flickr by dj_metronome.click here for the full size shot.
KORG MS20 minus keys
Tuesday, August 07, 2007
Hispasonic Nebula Reverb (and More) - Free
"Nebula is a wonderful "FX gear emulator" VST plugin for Windows from Acustica Audio, based on Volterra Kernels Series. It emulates different types of vintage gear: equalisers, filters, microphones, preamps, compressors, reverb and generic time-variant processors (chorus, flangers, phasers).
Nebula HS Reverb (Hispasonic Edition) is a free version of Nebula with 18 exclusive reverb presets made by Jorge Ruiz, commemorating the new look of Hispasonic.com, the biggest website and community around musical creation & production in spanish. Here you can download it for free!
We have also published a quick tutorial in spanish for Nebula HS Reverb. Here you have the Google-translated version."
Title link takes you there. via CDM.
Suzanne Ciani on YouTube
Looks like Suzanne Ciani has a YouTube account. The following are some vids she posted. Note some of the equipment (notably the rack with vocoder) is the same as what she had in this Letterman appearance. Click here for all Suzanne Ciani posts on Matrixsynth. The following are a bit long. If you do not make it through them, do check out the last two videos, one of her recording a bit for a GE commercial and a more recent video of what she is doing now.
Fifth Wave Recording Session Part 1 of 3
Fifth Wave Recording Session Part 2 of 3
Fifth Wave Recording Session Part 3 of 3
"My recording session of the fifth wave song called, Water Lullaby. It appeared on my first album, Seven Waves. You can buy my first album at link"
GE Dishwasher Production Session
"This video was filmed by Julio Cintron as a documentary about the GE "2800 Dishwasher" at my small studio in 1984."
VH1 - A Summer's Day
YouTubes via SuzanneCiani. "This was from my Neverland album"
via U.S.O. Project via AudioLemon.
Fifth Wave Recording Session Part 1 of 3
Fifth Wave Recording Session Part 2 of 3
Fifth Wave Recording Session Part 3 of 3
"My recording session of the fifth wave song called, Water Lullaby. It appeared on my first album, Seven Waves. You can buy my first album at link"
GE Dishwasher Production Session
"This video was filmed by Julio Cintron as a documentary about the GE "2800 Dishwasher" at my small studio in 1984."
VH1 - A Summer's Day
YouTubes via SuzanneCiani. "This was from my Neverland album"
via U.S.O. Project via AudioLemon.
Nyle Steiner on IMDB and Philip Dodds of ARP
Peter Grenader of Plan B sent this one into AH. Title link takes you to Nyle Steiner's (of Steiner Parker fame) IMDB page. The following is the list of credits. Click here for previous posts on Steiner Parker.
Miscellaneous Crew:
* 1990s
1. Merry Christmas, George Bailey (1997) (TV) (musician: E.V.I.)
* 1980s
2. Mississippi Masala (1991) (musician: ewi)
* 1970s
3. No Way Out (1987) (musician) (as Nyle A. Steiner)
4. The Mosquito Coast (1986) (musician: synthesizers)
5. Enemy Mine (1985) (musician: electronic ensemble)
6. Apocalypse Now (1979) (musician: synthesizer)
... aka Apocalypse Now Redux (International: English title: longer version)
Self:
1. One Voice (1986) (TV) .... Synthesizer
For fun I checked on Philip Dodds of ARP. He has a page as well.
Filmography
Actor:
1. Close Encounters of the Third Kind (1977) .... Jean Claude
... aka CE3K (USA: informal short title)
... aka Close Encounters of the Third Kind: Special Edition (USA: reissue title)
Additional Details
Genres:
Adventure / Drama / Sci-Fi
STARmeter: ?
^ 4% since last week why?
Miscellaneous Crew:
* 1990s
1. Merry Christmas, George Bailey (1997) (TV) (musician: E.V.I.)
* 1980s
2. Mississippi Masala (1991) (musician: ewi)
* 1970s
3. No Way Out (1987) (musician) (as Nyle A. Steiner)
4. The Mosquito Coast (1986) (musician: synthesizers)
5. Enemy Mine (1985) (musician: electronic ensemble)
6. Apocalypse Now (1979) (musician: synthesizer)
... aka Apocalypse Now Redux (International: English title: longer version)
Self:
1. One Voice (1986) (TV) .... Synthesizer
For fun I checked on Philip Dodds of ARP. He has a page as well.
Filmography
Actor:
1. Close Encounters of the Third Kind (1977) .... Jean Claude
... aka CE3K (USA: informal short title)
... aka Close Encounters of the Third Kind: Special Edition (USA: reissue title)
Additional Details
Genres:
Adventure / Drama / Sci-Fi
STARmeter: ?
^ 4% since last week why?
Roland SH-101
Title link takes you to shots via this auction. Be sure to click on the All Sizes link for the full size shot. There is a short video at the auction while it's up.
Roland RS-202
Title link takes you to shots via this auction."This synth is a rare beauty, the fatter version of the roland RS-09. capable of the most warm strings you will ever here." Anyone confirm this?
Casio DM-100
Click here for shots via this auction.
"The Casio DM-100 is basically a Casio SK-5 and a MT series keyboard in one housing. I believe it was the only mini-keyed keyboard to have dual keyboards on it.
Strangely though, not all of the SK-5 features are present (or at least brought to the control surface). Absent is the ever-useful lions roar, laser gun, dog, and surf sounds, but it features a few others instead. It does keep up to four samples and retains the useful sample tune, reverse, loop, and amp envelopes. The samples are stored in the memory after power off as long as batteries or AC adapter are present. I never cracked it open to see, but I imagine that some of the other SK-5 features are still there on the circuit board and accessible to hardware hackers and circuit benders. It has a built-in microphone as well as a 1/8" line-in jack for the sampler. The larger speakers on the DM-100 make it sound better than any SK-5 ever did.
The bottom keyboard has a PCM sampled soundset with the ability to layer any two of the 20 sounds together for a total of 210 possible combinations.
It also has rhythm accompaniment as well as Casio's auto chord accompaniment feature. It has a mixer section to balance the sound output of the top and bottom keyboards with the accompaniment and a 1/4" headphone jack on the front. On the back are RCA outputs, a 9V DC-in (AC adaptor not included) and individual tuning knobs for each of the keyboards so you can get detuned chorus-style effects out of this thing if you play both boards at once."
via devetron
Update via Alex in the comments: "Hate to break it to you, but the sampler is not based on the SK-5. I've owned two of these and had a good, long look inside them. The sampler is basically a stripped down SK-8 with the same instrument set and sampling capabilities.
So, you won't find any lion's roar or laser gun in this keyboard, I'm afraid. Neither will you find the oriental features or even any of the ROM related features."
Monday, August 06, 2007
Santuaries Makes the Associate Press
Remember Sanctuaries? Title link takes you to a write up via the AP.
"It was one of the more unusual summer concert tours veteran composer Gary Chang had undertaken, performing futuristic, electronic music in centuries-old sacred cathedrals.
Chang, who has composed dozens of soundtracks and scores for movies and television, recently returned from Italy, where he brought modern surround-sound-type compositions to some of the country's most venerable landmarks.
'It was kind of a monumental idea,' Chang said with a laugh. 'Let's send 500 pounds worth of gear halfway around the world and drag it around to churches.'
But he'd been fascinated for decades by the acoustics of the ancient cathedrals and always wondered how they might sound when filled with electronic compositions that were filtered through a state-of-the-art 5.1 theatrical sound system."
"It was one of the more unusual summer concert tours veteran composer Gary Chang had undertaken, performing futuristic, electronic music in centuries-old sacred cathedrals.
Chang, who has composed dozens of soundtracks and scores for movies and television, recently returned from Italy, where he brought modern surround-sound-type compositions to some of the country's most venerable landmarks.
'It was kind of a monumental idea,' Chang said with a laugh. 'Let's send 500 pounds worth of gear halfway around the world and drag it around to churches.'
But he'd been fascinated for decades by the acoustics of the ancient cathedrals and always wondered how they might sound when filled with electronic compositions that were filtered through a state-of-the-art 5.1 theatrical sound system."
Roland SH-101, Doepfer, Sherman and More on SoNiCbRaT
Title link takes you to more shots. Some demos might be coming as well.
Sal Mar Performances
YouTubes via ZanterM
"I took this video in April of 2004 at "New Directions in the Study of Musical Improvsation: An Interdisciplinary and Intercultural Conference" hosted by the UIUC Musicology division. It features David Rosenboom, dean CAL Arts [Music School], playing the SAL MAR for the first time in 20 years ; the culmination of the efforts to revive this amazing instrument! Viva la Sal! Viva la SAL MAR! MZ"
picture of David Rosenboom with the Sal-Mar Construction as restored by engineer Greg Danner, University of Illinois, April, 2004. via AudioLemon.
You can find additional posts featuring the Sal-Mar here.
Briand, Daddio and Metasonix
Via brian comnes:"he [daddio] and I recorded a TM3 VCO into a TM6 filter and then into series of Moogerfoogers....we really like what the Murf did to the metasonix things, (melodic drums?) we also used the Moog Analog delay external looped into the Murf while receiving TM-2 sound bursts gated by a Korg ER-1 ...we were also getting CV from a CP251 to liven things up a bit. We also ran the TM3, no envelope, just sweeping CVs for pitch into a Moog Freqbox and couldn't get much out interesting by themselves, but when gated by the ER-1 it made for some tasty drum hits"
mp3s via daddio of tapewarm:
raw recordings:
http://i78.photobucket.com/albums/j119/tapewarm/dance.gif
no, these:
http://www.tapewarm.com/Bri/201Rezoswing.mp3
http://www.tapewarm.com/Bri/204Ticker.mp3
http://www.tapewarm.com/Bri/205ratAtat.mp3
http://www.tapewarm.com/Bri/208progsnake.mp3
http://www.tapewarm.com/Bri/210Horny.mp3
http://www.tapewarm.com/Bri/211bugs.mp3
http://www.tapewarm.com/Bri/212quacker.mp3
http://www.tapewarm.com/Bri/213Banjo.mp3"
Pixelh8 - Chocolate Milk
YouTube via Hiddenfortress.
"Pixelh8 demonstrates the practical use for the gameboy music tech synth. This video was very hard to do without a metronome :)"
Catch the end of the following video for a clip of Chocolate Milk with a much fuller sound.
Pixelh8 - Two Festivals One Day
ReBirth RB-338 (live)
YouTube via Denkitribe.
"Excerpt from streaming live August 5th. In this live I performed improvisation on RB-338. There are no pre-recorded sequences. Propellerhead RB-338 (bassline and drums) Ableton Live (effects) Novation ReMOTE 25 LE and KORG KAOSS PAD KP3 (MIDI remote control)"
Oberheim Matrix-6 w/ Original Manual
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
The Matrix-6 - source of my alias and the name of this site. My first synth back in 1986. And no, I would never sell mine.
via this auction
The Matrix-6 - source of my alias and the name of this site. My first synth back in 1986. And no, I would never sell mine.
DK Synergy II
Title link takes you to shots via this auction."Synergy ii + digital keyboard / synth complete system with kaypro-4 computer, set of ten individual sound cartriges with 24 original sounds each and set of 15 - 5" sound discs for kaypro computer and a set of complete original manuals including owner's manual, reference manual, voice library and synergy cartrige manual With kaprio-4 computer you may create or change your own sounds too. Digital keyboards,inc synergy synth was world second digital synth ever to come, after it's mother Gds synth! Synergy cost was $5000 and gds (only few made) was more than $25000 almost 30 years ago!"
MOOG Polymoog Service Manual
Title link takes you to shots via this auction."An Original MOOG Polymoog Service Manual. Covers the Synthesizer and Keyboard versions, and the Poly pedal. Not that skimpy this booklet; it's the Big Blue Binder Deluxe edition, loaded with pics, details, and several centerfolds! Schematics - Troubleshooting tips - service letters, w/ factory updates too."
Sequential Circuits Prophet-10 and Remote
Title link takes you to shots via this auction."Sequential Circuits PROPHET 10 Synthesizer Rev. 3 , Serial # 007 c. 1981 (Lucky number 7 !!) by Dave Smith
*(This is the last and best version of the Double Manual Prophet 10 series with the Breamer tape drive sequencer)
---Includes Complete Technical Manual with Schematics and Diagrams (purchased from Wine Country Sequential), which also includes technical manual for Remote Prophet Keyboard Controller!
---Includes 2 spare VCA IC chips (again, purchased from Wine Country Sequential)
---Includes Prophet 10 Diagnostics ROM Chip set which resets memory and automatically reinstalls factory presets and tests system for errors. I ran this test late last year and the P10 passed with flying colors. It's also fantastic that I reloaded the original, classic factory sounds. (A Must!!!)."
MOOG Sonic Six
Click here for shots via this auction.
"The Moog Sonic 6 (also Sonic VI and Sonic Six) is a duophonic analog synthesizer that was manufactured by Moog Music from 1974 to 1979. The Sonic 6 is the result of Moog Music's acquisition of the company Musonics, which had previously made a synthesizer called the Sonic V.
The Sonic 6 is mounted in its own briefcase; the upper control panel folds and latches over the keyboard to ease transportation and storage. This feature was used by a number of synthesizer manufacturers of the time, however the Sonic 6 was Moog Music's only product that incorporated this into its design. The Sonic 6 is also the only Moog synthesizer that featured built-in speakers rather than requiring the user to use an external amplifier.
The Sonic 6 features two VCOs with changeable waveform (sawtooth, triangle, square, pulse), one low-pass VCF, a VCA, two multimode LFOs for modulation and a 49-note keyboard.
The Sonic Six is an uncommon Moog of wonderful sound and amazing versatility. It very definitely has a “discrete” analog sound, despite the fact that it is most likely an IC synth like most of the synths of the seventies. It's very warm and buzzy and reminiscent of early seventies monosynths.
The Sonic Six was based on Waytena's Musonics Sonic V. When Musonics bought Moog, they sold the Sonic V as a Moog for awhile, and then redesigned it with some castoff Minimoog case designs, and called it the Sonic Six in 1972. It was intended to be the “educational Moog” which is why everything is labeled so bizarrely. Bob Moog himself used to tote one of these around for demonstrations. It is the first non-modular duophonic synth.
The Sonic Six is a two-oscillator duophonic synth. You can set it up so that it is duophonic, (two notes at a time... one oscillator takes high-note priority and one oscillator takes low note priority), monophonic (both oscs), or monophonic with a drone (one osc changes pitch, one does not). Available waveshapes are pulse (variable), saw, and triangle. The pitch of each oscillator can be controlled by dual LFO, one by contour, and the other by the other oscillator. You can adjust the temperament of the Sonic Six, to play scales that have less than 12 notes per octave! The Sonic Six has pink or white noise available with level adjustment.The Dual LFO is AMAZING. You have control over the balance between the two LFOs. Each LFO has saw, reverse saw, triangle, and square waves available, driven by Envelope or the master LFO slider. Having two LFOs makes a lot of modulation and triggering possibilities available.
The Sonic Six has a genuine ring modulator which allows you to choose between OSC1 and the LFO for source. The ring modulator has a mix knob, and a direct out. The ring modulator and can create more than just the standard sound. It can generate surprisingly guitar-like distortion. Audio signals can be routed through the Moog filter and ring modulator via an external input.
Ah, the contour generator. If there was one weaker spot in the Moog Sonic Six design, this is it. It is simply a modified AR envelope generator. Decay is provided by a switch, offering long or short decay. Where the contour generator becomes cool again (and perhaps cooler than most) is when it allows you to choose what triggers the envelope. You can choose between the keyboard, LFO 1, or LFO 2... or any combination. This function allows you to do many cool things... especially when you've set the LFOs to trigger the synth, and have them on different waveforms at different frequencies. If you turn down the oscillators, turn up the noise generator, and get creative with the filter settings, you can create your own analog drum machine/loop generator.
The filter is a delightfully rich Moog filter with filter cutoff, resonance, KYBD switch, Env amount, and dual-LFO amount. Having the dual LFOs control the filter is a great sound.....you can easily generate unique sample and hold type effects.The Sonic Six has direct oscillator/ring mod out control knobs. Basically, you can add a direct line from the oscillator to the final output, which REALLY fattens up the sound. Sadly, these outputs don't go through the ENV generator, so they are always on if you have them on, but still... it is a very useful tool for effects and fattening.
The Sonic Six has “glissando” which is actually portamento. This can be assigned to both oscillators or just one, depending on the setting. The Sonic Six has a built in speaker, as well as normal output. The speaker sounds great, and has its own distinctive sound. Many mic the built in speakers! It features control voltage inputs for VCO, VCF, and VCA. Of course, it has a pitch wheel, as well."
Synare 3
Title link takes you to shots pulled via this auction."basic 2 oscillator synthesizer with an ADSR and white noise. This truly is a two-voice synthesizer. You can get all types of sounds with this drum synthesizer. You can control the pitch, attack, volume, decay, release, etc. It can make do very low frequencies and tones as well as the "disco sound" that it is known for. I have made numerous ring modulation type of sounds as well. It has a drum mount so you can immediately screw it on to a stand and get playing either on your set or ndividually. It is powered by two 9 volt batteries internally."
Sunday, August 05, 2007
MOOG Little Phatty and Voyager Demo
"here's a little snippet for you. It's not a finished track yet, but what it is is a demonstration of the raw, dirty bass power of the Moog Little Phatty. The LP has taken over as my main bass synth, so I thought I would turn it loose and see how down and dirty it would get. There is a tasty beat too. Everything is original; patch programming, drum samples and rhythm programming. All synth sounds are Little Phatty (except for one F#-to-D# motif that repeats every other measure; that's Voyager). All sequencing and drum-programming is original."
Via controlvoltage on the Matrixsynth Forum. Title link takes you to the mp3.
Via controlvoltage on the Matrixsynth Forum. Title link takes you to the mp3.
My tune on Rebirth and Roland E30 (old stuff)
YouTube via fischek.
"AUDIO ONLY i.e. not much of a video, but I thought I'd upload my tune which has been created on Rebirth and Roland E30 several years ago."
Synth Vids via hexfix93
Velvet Acid Christ Studio video demos. Modular, Analog, roland, Jomox, Future Retro.
Modular Plan B OSC ssm filter Evil sweep
malgorithm vc bitcrusher Meets Jomox Meets frequensteiner
malgorithm vc bitcrusher Meets Jomox Meets frequensteiner 2
SH2
Just to show some of my new gear and old. If any of this interests you. please, goto http://www.analoghaven.com/ YouTubes via hexfix93.
Modular Plan B OSC ssm filter Evil sweep
malgorithm vc bitcrusher Meets Jomox Meets frequensteiner
malgorithm vc bitcrusher Meets Jomox Meets frequensteiner 2
SH2
Just to show some of my new gear and old. If any of this interests you. please, goto http://www.analoghaven.com/ YouTubes via hexfix93.
Acoustyx IS-1 Image Synthesizer
Title link takes you to shots via this auction.Details:
"Very hard to find and rarely working, Acoustyx IS-1 Image Synthesizer, 100% functional. Its a modulation type effect, most similar to chorus, or a rotating speaker, but unlike any other such effect I've heard, or used in the sense that the effect is useable within all the control ranges. Manufactured by the Highland Corporation of North Springfield Vt, you'll see from the pictures that it operates via 8 c cell batteries!! Extremely rugged construction and uses higher end Allen Bradley potentiometers. I have no idea of its date of manufacture, but would guess at late 70's to early 80's. There is no external power supply input, however there is an unutilized 1/4 jack next to the output that could be used to supply 12vDC. This jack appears to be factory installed, and is identical to the others and its solder lugs appear untouched."
If anyone knows more about this unit please comment.
Oberheim OB-8
Title link takes you to shots via this auction.Some specs:
Oberheim OB8 1983-1985 (approx)
-8 Voice, 2 VCO per voice.
-VCF switchable from 2-pole and 4 pole lowpass.
-3 LFOs - each with 7 modes - retriggerable or free run.
-1 Filter EG, 1 VCA EG
-120 Programs, 12 Splits, 12 Doubles
-the front panel is switchable to Page 2 Mode, offering: Lfo Ramp generators, Portamento Quantize LFO Quantize amount, LFO Phase invert LFO Retrigger, Trigger point set, Individual Voice Tuning.
-8 Individual Voice Panning Pots, Arpeggiator, Portamento, Unison Mode, Oscillator sync, etc.
Control:
-61 Key Non-Velocity Keyboard,
-Dual Lever Pitch bend/modulation
-Oberheim Serial Interface for DSX
-Midi In/Out/Thru (software rev B3)
-Arpeggio Clock in
-VCA, VCF pedal ins.
Casio CZ-1
Title link takes you to shots via this auction."If you don't know anything about Casio professional instruments, the CZ-1 is considered the pinnacle of their synth engineering. Phase distortion synthesis was Casio's twist on FM synthesis. The twist was that instead of operators, they mix waveforms to create harmonic distortion which results in amazing bass and synth tones. Unlike Yamaha's FM synthesizers, the Casio CZ series are extremely easy to program. Instead of layers of menus, all the major functions have dedicated buttons, laid out in the order of the signal path. This makes it very simple to understand this synth and programming is a snap.
As with any musical instrument, you buy it for its sound: The CZ-1 really excels at synth and bass tones. Somewhere between an analog synth and a Yamaha DX-7 is where I would place this. Warm and thick with uniquely characteristic digital harmonics.
Specifications:
Polyphony: 16 voices
Oscillators: 2 per voice (DCO, DCW, DCA)
Keyboard: 61 keys with velocity and aftertouch
Memory: 64 preset, 64 user patches, 64 patch external cartridge (2 included in this auction!)
Effects: Chorus;
Date: 1986"
Saturday, August 04, 2007
Circuit Bending In Italy
Title link takes you to an interview on Circuit Bending in Italy on GetLoFi.
Linndrum
Title link takes you to a flickr set by Neil Vance sent my way via E.S. Includes some shots of the inside. LinnDrum, Linn 9000 and LM-1 featured.
Doepfer A-100 MiniCase
via this auctionDoepfer A-100 MiniCase (Black Texture - Beauty Version)
a. A-100 miniature case ("A-100 beauty case")
b. built-in A-100 miniature power supply/bus board with higher output current (200 mA @ +/-12V and 50 mA @ +5V)
c. width 28 HP (e.g. three modules with 8 HP and one module with 4 HP)
d. 4 bus connectors (i.e. max. 4 modules)
e. alternatively raw wood or black coated
f. outside measures: about 160 width x 155 height x 125 depth (mm)
g. max. module depth in the left half: about 50 mm (because of the heat sinks of the power supply)
h. max. module depth in the right half: about 90 mm
i. pay attention to the suitable module depths if you order the modules, e.g. A-112, A-113, A-126 or A-199 (because of the spring reverb tank) cannot be mounted into the A-100MC.
j. the handles on top of the cases are enclosed but not mounted, two holes with about 3 mm diameter have to be drilled to mount the handle, if the miniatures cases have to be stacked on top of each other the handles have to be omitted.
via brian comnes
MFOS Weird Sound Generator Boards Coming Soon
via Ray Wilson of Music From Outer Space, home of the SoundLab."Calling all lovers of weird sounds...
PC Boards have been ordered for the MFOS WSG (Weird Sound Generator). Should have them in a week or so. A couple of new features have been added that will more than likely triple (perhaps quadruple) the weird sound generation fun.
They will be available here.
and of course here...
Cheers
Ray"
Stevie Wonder
YouTube via Mckinley0039.
Herbie Hancock talks about Stevie Wonder. Features Stevie playing the uber Yamaha GX-1.
Via Failed Muso where you'll find an excellent post on Yamaha's Uber Synths. Check it out.
Update: Also see Stevie Wonder and TONTO in this previous post.
Peter Grenader on Waveshapers
Via Peter Grenader of Plan B via AH:
"Waveshapers don't really - or better put, shouldn't 'effect' a VCO per say, although they can play havoc if you're not careful. PWM circuits are notorious for this as many times they take the signal very close to the op amp's power rail, and depending which op amp you use it can cause real problems.
In any event, what a waveshaper does is take the core signal - meaning the waveform the oscillating engine creates on it's own, usually either Sawtooth or Triangle - and through a series of added circuits bends that into whichever waveform it needs at a given output. It's real trickery at times - reverse biasing of diodes, carefully timed disection to rearrange core signals into other shapes, etc. It's not an E.Q. Although one could filter a saw to it's first harmonic and have a sine, it wouldn't have the fidelity required. You have to do it other ways.
The waveshapers account for the bulk of a VCO's circuit. Along with the Expo converter, that's where the magic happens and it's really critical stuff. It's what makes a VCO sound as it does and designers guard their methods. For instance - while I've given some of my dealers - those who have in-house repair facilities - schematics of my VCO's core, I omit some of the waveshapers. If they've got a dead saw or sine for instance, I tell them what part needs to be replaced. If that doesn't do it, they send it back to me. I'm not the only one who's that paranoid.
There are three blocks to a VCO:
1) Expo Converter/Freq Control - This takes all the input controls - Freq Pot, Freq VC inputs, 1V/oct inputs, sums them to one voltage string, scales it as needed (somewhere around 18 mv/octave), and then converts that voltage to current through a circuit called an Expo Converter.
2) The Core. This is what does the oscillating. Basically it's a fixed-ratio envelope generator that gooses itself to start again, once per cycle. A secondary goose comes from the external SYNC input. The core can only manifest one waveform. There are a few things that determine what that waveform will be, namely the configuration of the circuit called an Integrator and where you place the capacitor in that integrator. Do it one way, you get a saw. Do it another way, you get a Triangle. The current from the expo converter gets injected into the core loop and that's what changes the oscillating frequency.
3) Waveshapers. One per waveform. They take the core signals and do the bending. One circuit for sine, one for triangle, one for saw, one for PWM, blah. Based on what waveform a given VCO's core produces, sometimes you've got to take the output from one waveshaper to make yet another waveform because it can't do it in one step. My core is triangle, I don't have to worry about this. They all take the triangle core signal to make their the output waveforms in single generation, thus all of the M15's waveforms remain in phase. All I do is fan the triangle to the string. But you do have to condition the core signals for the various applications. Some of the waveshapers need hearty signals to do their thing, some need comparatively low-amplitude signals, and you've got to scale your core signal for each.
So this doesn't sound all that bad, does it? and it isn't..not until you concern yourself with range, stability and tracking - this takes the bulk of the work in VCO design. It ain't easy and at times it's magic, but it's magic that must be repeatable under a plethora of operating environments. Back in the halcyon days, when musicians limited themselves to one system, designers could fine tune each module in their range to work with one another more efficiently. A wet dream compared to the Frakensynth 21st Century, all that goes out the window because people are using their Serge's with MOTM and Buchlas with Plan B's. Also know that many of these steps I've outlined are quite noisy. You have to deal with that. You have to assure your output waveforms retain their amplitude across the entire frequency range - that doesn't happen for free, either. There are mechanical considerations as well, specifically how the traces are thrown on the board. Some work as antennas which cause major problems if too long. Some can't be too close to others or interference will occur. Basically it's a huge undertaking and it's got to be right. You can get away with sonic defects in filters -people will propably prefer the results. With a VCO - no dice. Everything has to work correctly, in time and in spec and you have to find a way to do that affordably.
I'm skirting over much detail here, but I think this gives you an idea.
hope this helps," Pleas note this was sent to AH, so Peter will see questions sent there but not necessarily here although he has been known to drop by.
Update: More via Peter on AH:
"One must remember there are bunches of ways to create an oscillator core. Charge pump, 555 timers (yikes!), 4046 PLL's (I would recommend this over the 555), Feedback loops with logic gates, etc. And as a result different methods must be used to shape these core signals into the final waveforms.
Sometimes you have to use the output of one waveshaper to create another final waveform - the core signal will not allow you to manifest all of them, so you do it in steps.
OK - if one were to draw on paper four waveform types of the exact same freq, - sine, saw, tri and square, it would be done (I assume) with all four starting their cycle at the same time, going through their pattern so to speak, and ending at the same time. By doing this, you would be showing these four waveforms in phase with one another. But sometimes you can't do that. For instance, common square to saw shapers need the trailing edge of the squarewave to do it's thing, not the rising edge. Given that that square is 50% duty cycle, then the saw pattern begins 180 degrees out of phase with the core signal, and other waveforms which can produce their outputs from the core signal directly.
Next question - so where does that squarewave come from?
Along with the final output, most cores produce a timing pulse as well - the signal used to 're-goose' the core to begin it's cycle again. It's produced by a carefully tuned comparator circuit which pops a high output at the exactly the right time to open and close what's known as the flyback, a switch that opens the closes the current loop that charges the integrator. Open the loop, the integrator discharges. close it, it charges. The comparator is fed the core signal - so it's output states are governs by the very core it's enabling. You bias the comparator to trigger at the right voltasge level. Do it right, your core singal's fidelity is maintained. Do it wrong, your triangle is leaning over on it's side or pitifully low in amplitude.
Some waveshapers use the core output, some use the comparator output.
Here's a really odd analogy: Let's say the VCO core is a bathtub. The liquid is the core waveform, the faucet is the current loop and the plug, and the guy working it is the comparator. He plugs up the drain, the tub fills at a certain point, he pulls the plug, the water begins to drain. This goes on over and over, the water level going up and down. They are fed from and effect one another. But they are doing their thing out of phase. If the plug gets pulled when the tub is empty, it'll remain that way. If it's pulled when it's full, then the cycle is intact. If it's not pulled at the righ ttime, the water won't make it's target level. There's your visual.
So tying my original statement to this model - Some waveshapers need the empty tub, some need the full tub. Waveforms which are produced from these two concurrently are out of phase with one another - while at the same frequency, they don't begin and end at the same time."
"I need to add that the circuit I described - the current loop/comparator pair, is one type of circuit used to create a core waveform -there are other methods which are easier (on paper) to design than this. But, they suck. Linearity is often poor, the range is pitiful, amplitude levels are hard to maintain throughout that range, they're sensitive to temperature variations, they are unstable as hell. I see core VCO circuits that use a 555, or worse yet a logic gate pair to create their core signal, in which in order to address these variables the guy was forced to hang scads of parts all over the place. If the purpose of the exercise was to prove that a stable VCO can be made in this way, cool but real world - it's not going to work predictably. So instead of hacking it, it's best just to use a core which will give you the fidelity, linearity, range and stability required to do the job. If electronic components were finite - a 1k being EXACTLY 1K, a 10uf cap being EXACTLY that - then these types of alternate circuits would stand a chance. But things don't work that way real world."
"More ramblings on alternate methods -
I know a guy named Jerry Steckling - brilliant guy, who used to make mobile recording studio installations out of the panels used to for walk-in restaurant freezers which were f'ing incredible, who later went to Skywalker for a number of years and became a very big cheese up there, who now makes his own speakers, multichannel speaker systems and amplifiers. He had a pet project to produce a speaker which used a flame as the oscillating body instead of the driver. Wack idea, but on paper it's possible, and if anyone could do it, Jerry could. We had many jokes about this - how big is YOUR flame - that sort of thing, but while he knew it was possible, he'd never go that route obviously for anything more than an experiment followed by a good larf.
There are many ways to produce a VCO core, but....
you get the idea."
"Waveshapers don't really - or better put, shouldn't 'effect' a VCO per say, although they can play havoc if you're not careful. PWM circuits are notorious for this as many times they take the signal very close to the op amp's power rail, and depending which op amp you use it can cause real problems.
In any event, what a waveshaper does is take the core signal - meaning the waveform the oscillating engine creates on it's own, usually either Sawtooth or Triangle - and through a series of added circuits bends that into whichever waveform it needs at a given output. It's real trickery at times - reverse biasing of diodes, carefully timed disection to rearrange core signals into other shapes, etc. It's not an E.Q. Although one could filter a saw to it's first harmonic and have a sine, it wouldn't have the fidelity required. You have to do it other ways.
The waveshapers account for the bulk of a VCO's circuit. Along with the Expo converter, that's where the magic happens and it's really critical stuff. It's what makes a VCO sound as it does and designers guard their methods. For instance - while I've given some of my dealers - those who have in-house repair facilities - schematics of my VCO's core, I omit some of the waveshapers. If they've got a dead saw or sine for instance, I tell them what part needs to be replaced. If that doesn't do it, they send it back to me. I'm not the only one who's that paranoid.
There are three blocks to a VCO:
1) Expo Converter/Freq Control - This takes all the input controls - Freq Pot, Freq VC inputs, 1V/oct inputs, sums them to one voltage string, scales it as needed (somewhere around 18 mv/octave), and then converts that voltage to current through a circuit called an Expo Converter.
2) The Core. This is what does the oscillating. Basically it's a fixed-ratio envelope generator that gooses itself to start again, once per cycle. A secondary goose comes from the external SYNC input. The core can only manifest one waveform. There are a few things that determine what that waveform will be, namely the configuration of the circuit called an Integrator and where you place the capacitor in that integrator. Do it one way, you get a saw. Do it another way, you get a Triangle. The current from the expo converter gets injected into the core loop and that's what changes the oscillating frequency.
3) Waveshapers. One per waveform. They take the core signals and do the bending. One circuit for sine, one for triangle, one for saw, one for PWM, blah. Based on what waveform a given VCO's core produces, sometimes you've got to take the output from one waveshaper to make yet another waveform because it can't do it in one step. My core is triangle, I don't have to worry about this. They all take the triangle core signal to make their the output waveforms in single generation, thus all of the M15's waveforms remain in phase. All I do is fan the triangle to the string. But you do have to condition the core signals for the various applications. Some of the waveshapers need hearty signals to do their thing, some need comparatively low-amplitude signals, and you've got to scale your core signal for each.
So this doesn't sound all that bad, does it? and it isn't..not until you concern yourself with range, stability and tracking - this takes the bulk of the work in VCO design. It ain't easy and at times it's magic, but it's magic that must be repeatable under a plethora of operating environments. Back in the halcyon days, when musicians limited themselves to one system, designers could fine tune each module in their range to work with one another more efficiently. A wet dream compared to the Frakensynth 21st Century, all that goes out the window because people are using their Serge's with MOTM and Buchlas with Plan B's. Also know that many of these steps I've outlined are quite noisy. You have to deal with that. You have to assure your output waveforms retain their amplitude across the entire frequency range - that doesn't happen for free, either. There are mechanical considerations as well, specifically how the traces are thrown on the board. Some work as antennas which cause major problems if too long. Some can't be too close to others or interference will occur. Basically it's a huge undertaking and it's got to be right. You can get away with sonic defects in filters -people will propably prefer the results. With a VCO - no dice. Everything has to work correctly, in time and in spec and you have to find a way to do that affordably.
I'm skirting over much detail here, but I think this gives you an idea.
hope this helps," Pleas note this was sent to AH, so Peter will see questions sent there but not necessarily here although he has been known to drop by.
Update: More via Peter on AH:
"One must remember there are bunches of ways to create an oscillator core. Charge pump, 555 timers (yikes!), 4046 PLL's (I would recommend this over the 555), Feedback loops with logic gates, etc. And as a result different methods must be used to shape these core signals into the final waveforms.
Sometimes you have to use the output of one waveshaper to create another final waveform - the core signal will not allow you to manifest all of them, so you do it in steps.
OK - if one were to draw on paper four waveform types of the exact same freq, - sine, saw, tri and square, it would be done (I assume) with all four starting their cycle at the same time, going through their pattern so to speak, and ending at the same time. By doing this, you would be showing these four waveforms in phase with one another. But sometimes you can't do that. For instance, common square to saw shapers need the trailing edge of the squarewave to do it's thing, not the rising edge. Given that that square is 50% duty cycle, then the saw pattern begins 180 degrees out of phase with the core signal, and other waveforms which can produce their outputs from the core signal directly.
Next question - so where does that squarewave come from?
Along with the final output, most cores produce a timing pulse as well - the signal used to 're-goose' the core to begin it's cycle again. It's produced by a carefully tuned comparator circuit which pops a high output at the exactly the right time to open and close what's known as the flyback, a switch that opens the closes the current loop that charges the integrator. Open the loop, the integrator discharges. close it, it charges. The comparator is fed the core signal - so it's output states are governs by the very core it's enabling. You bias the comparator to trigger at the right voltasge level. Do it right, your core singal's fidelity is maintained. Do it wrong, your triangle is leaning over on it's side or pitifully low in amplitude.
Some waveshapers use the core output, some use the comparator output.
Here's a really odd analogy: Let's say the VCO core is a bathtub. The liquid is the core waveform, the faucet is the current loop and the plug, and the guy working it is the comparator. He plugs up the drain, the tub fills at a certain point, he pulls the plug, the water begins to drain. This goes on over and over, the water level going up and down. They are fed from and effect one another. But they are doing their thing out of phase. If the plug gets pulled when the tub is empty, it'll remain that way. If it's pulled when it's full, then the cycle is intact. If it's not pulled at the righ ttime, the water won't make it's target level. There's your visual.
So tying my original statement to this model - Some waveshapers need the empty tub, some need the full tub. Waveforms which are produced from these two concurrently are out of phase with one another - while at the same frequency, they don't begin and end at the same time."
"I need to add that the circuit I described - the current loop/comparator pair, is one type of circuit used to create a core waveform -there are other methods which are easier (on paper) to design than this. But, they suck. Linearity is often poor, the range is pitiful, amplitude levels are hard to maintain throughout that range, they're sensitive to temperature variations, they are unstable as hell. I see core VCO circuits that use a 555, or worse yet a logic gate pair to create their core signal, in which in order to address these variables the guy was forced to hang scads of parts all over the place. If the purpose of the exercise was to prove that a stable VCO can be made in this way, cool but real world - it's not going to work predictably. So instead of hacking it, it's best just to use a core which will give you the fidelity, linearity, range and stability required to do the job. If electronic components were finite - a 1k being EXACTLY 1K, a 10uf cap being EXACTLY that - then these types of alternate circuits would stand a chance. But things don't work that way real world."
"More ramblings on alternate methods -
I know a guy named Jerry Steckling - brilliant guy, who used to make mobile recording studio installations out of the panels used to for walk-in restaurant freezers which were f'ing incredible, who later went to Skywalker for a number of years and became a very big cheese up there, who now makes his own speakers, multichannel speaker systems and amplifiers. He had a pet project to produce a speaker which used a flame as the oscillating body instead of the driver. Wack idea, but on paper it's possible, and if anyone could do it, Jerry could. We had many jokes about this - how big is YOUR flame - that sort of thing, but while he knew it was possible, he'd never go that route obviously for anything more than an experiment followed by a good larf.
There are many ways to produce a VCO core, but....
you get the idea."
kII HandTracker
YouTube via audiocommander.
Sent my way via insektgod.
"kII HandTracker is a sensory input device for the midibox speakjet application. It uses harmonisation, has a master/slave beat detection mode and a bunch of other cool features. Both applications (the driver for the SpeakJet as well as the sensor matrix) will be released as DIY-projects @midibox.org. For more informations see: link
Credits:
MBHP/MIOS (midibox.org hard- and software platform): T. Klose, uCapps.de
kII driver application for MIOS and sensorMatrix: Michael Markert, audiocommander.de"
At one point I thought it was going to break out with Daft Punk's, "Around The World".
Roland RS-09
Title link takes you to shots via this auction."It has amazing-sounding silky smooth strings and organ pads. The well-known Roland chorus is switchable between on/off and Ensemble I & II. Hook it up in stereo, switch it on, and feel your knees get weak. Has lots of control over the sound, vibrato depth, rate, delay, etc. Also plenty of jacks on the back, including Gate out for triggering external envelopes for filters, etc, and a jack for Ext in, so you can run other instruments through the RS-09’s amazing chorus."
Friday, August 03, 2007
Moogfest 2007
"To honor Bob Moog and commemorate his groundbreaking achievements, hordes of renowned musicians and longstanding Moog users will gather in New York City on Saturday, September 22 at B.B. King's Bar & Grill in Times Square (237 w. 42nd Street between 7th & 8th Avenues) to celebrate Moogfest 2007.
This Year's Extravaganza Features...
Thomas Dolby
Jordan Rudess
Adam Holzman
Spiraling
Don Preston
Gershon Kingsley
Herb Deutsch
Erik Norlander
Showtime is 7:30 p.m. Tickets for this special event are $45 and are available at the box office (212-997-4144) or at all Ticketmaster outlets.
For more inforation visit www.moogfest.com
Check out the 2006 DVD for a look at last year's action!"
This Year's Extravaganza Features...
Thomas Dolby
Jordan Rudess
Adam Holzman
Spiraling
Don Preston
Gershon Kingsley
Herb Deutsch
Erik Norlander
Showtime is 7:30 p.m. Tickets for this special event are $45 and are available at the box office (212-997-4144) or at all Ticketmaster outlets.
For more inforation visit www.moogfest.com
Check out the 2006 DVD for a look at last year's action!"
New Modcan Modules
Via Bruce Duncan of Modcan on AH:"Hi All,
I am finally ready to release two new modules for the B series. The Digital Delay 59B and the Quad Envelope 60B. A series versions in the fall.
Please check them out at your leisure on their respective web pages at www.modcan.com Prices are on the price list.
The new Quad Envelope is perhaps the best EG available for both features and speed. It has an additional hold or punch stage that is unique to this design. Also functions as a Quad LFO with 4 stage wave shape parameters.
The Digital delay is also a terrific module and has many features you won't find on your old stomp box version including Delay duration clock Sync and CV control of Regeneration and Delay time.
Both modules are in full production and available to order now."
machinedrum jam
YouTube via daswesen. Sent my way via manuel.
"I show the instrument machines, M2 and M3 are prerecorded tweaks into CTRL-AL machines. At one time I switch into classic mode, that wasn't quite intentional at that point but that's a sweet trick as well. Else the standard muting/unmuting of tracks, as well as some FUNCTION+Param tweaking on filter and SRR. I often switch back to stored kit with FUNCTION+CLASSIC, especially after mashing up the sound with CTRL-AL."
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
