computer controlled

YouTube via 25dialectic. This one gets a post for the small amount of gear, all live. Also, you might remember Computer Controlled from this post. Also these posts.
TB-303
x0xb0x
Machinedrum UWmkI
TC ELectronic Nova Delay Pedal

Computer Controlled at the MMTA SYNTH PETTING ZOO 2014 - dB Festival EMP

Published on Sep 27, 2014 matrixsynth

Computer Controlled with Elektron Analog Four, Cyclone Analogic TT-303 BassBot, Roland Aira TB-3 & TR-8, Akai Rhythm Wolf & Intellijel Atlantis eurorack module.

Oberheim Matrix-12

Two Matrix-12s on the bay. One here, and one here. Title link takes you to more shots. Update: consensus is that the auctions are both frauds. Check out the comments of this post. And note, I DO NOT put posts up for the sake of the auction. I put them up for the shots and details only. The auction links are a courtesy and the equivalent of via flickr, via YouTube, via joe, etc. It is not the purpose of these posts.

Some details from both:
"This amazing machine was the last of the great Oberheim analog machines; built before Oberhiem's acquisition by Gibson/Norlin. Computer controlled, with a revolutionary matrix modulation section and full midi implementation, it set a new standard for power and sound that hasn't really been equaled. Each patch features 12 voices. Each voice can have a different sound assigend to it. These voices can then be played polyphonically in rotation, or grouped by polyphonic zones. Or stack them all for a monster 12 voice monophonic lead to rock the earth! Via midi, you can even play every voice individually on it's own channel - it's like having 12 individual dual oscillator monophonic analog synthesizers, and at the same time having a 12 voice polyphonic 12 timbre synth.

# Audio Sources 12 Independent Velocity, Release Velocity and Pressure (After-Touch) responsive analog Voices. NOTE: On this unit, Release Velocity and Pressure are accessible only by external MIDI controller.
# Voice Control Assignment can be per MIDI Input Channel (12 maximum) or per polyphonic grouping in up to six Zones.
On-Board ("Local") Controllers
# 61-Note (C0 to C5) five-Octave Velocity, Release Velocity and Pressure (After-Touch) sensitive Keyboard, non-weighted.
# 2 Non-dedicated Modulation Levers.
# 2 Non-dedicated Pedal Inputs.
Voice Architecture (per Voice)
# 2 Voltage Controlled Oscillators ("VCOs")
# 1 15-Mode Voltage Controlled Filter ("VCF")
# 15 Voltage Controlled Amplifiers ("VCA")
# 1 FM Modulation Generator
# 1 Lag Processor
# 3 Tracking Generators
# 5 Digital Envelopes
# 5 Digital Low Frequency Oscillators ("LFOs")
# 1 Noise Generator
Modulation
# Matrix Modulation™ System utilizing 27 possible Sources routed to 47 possible Destinations in up to 20 "Modulation Pages" per Voice.
# 12 Permanent ("hardwired") modulations per Voice.
MIDI Implementation
# MIDI IN, MIDI OUT and MIDI THRU Ports
# Transmit and Receive Channel select independent per Voice (MIDI MONO Mode) or per polyphonic Zone.
MIDI Modes
# Mode 1: OMNI On, Poly
# Mode 3: OMNI Off, Poly
# Mode 4: OMNI Off, Mono
MIDI Controllers
# Indendent Controller Number select
# Controllers ON/OFF select
# Patch Change Commands ON/OFF select
Miscellaneous MIDI Features
# System Exclusive ON/OFF select
# MIDI Echo ON/OFF select
Miscellaneous
# Three 40-Character Fluorescent Displays
# 100 SINGLE Patch Memory Locations
# 100 MULTI Patch Memory Locations
# "Chain" Programming Mode
# Cassette Interface - FROM (input) and TO (output) ports
# Trigger Input Requirements (selectable): +5V DC signal minimum, 1ms Pulse Width
Power Requirements (selectable):
# North America and Japan: 95 - 120 V A.C., 50 - 60Hz
# Europe: 200 - 230 V A.C., 50 - 60 Hz
Dimensions
# Length: 38-7/16 in. (97.63 cm)
# Width: 20-5/16 in. (51.59 cm)
# Height (maximum, Including feet): 5-15/16 in. (15.08 cm)
# Net Weight: 33 lbs. (14.97 kg.)"

UPDATE: Read the comments of this post. For auction posts it's usually a good idea to check out the comments to see what others are saying.

MMTA PNW Synthfest 2013 Pics by Computer Controlled

At the event:

4ms, Synthwerks, Mattson Mini Modular, Division-6, Circuit Abbey, Sythrotek / Antimatter, Malekko, Bubblesound, Computer Controlled, Lorne aka Kidtronic, JohnLRice, Infradead (with Dinsync Amnesia eurorack modules & more), Vsyevolod, Barto & more.

PNW Synth Meeting via Computer Controlled

flick set via Computer Controlled

(click for more)

Modular Acid Track from Computer Controlled

via Computer Controlled on the AH list:

"Finally got something completed after days and days of goofing around =o] You can hear it here: http://www.reverbnation.com/computercontrolled

It's called Virus. The modular is the low grindy sound. Gear Used:

TB-303
modular
Machinedrum
TR-707 (simply to rest the modular's LFO at the beginning of the measure)"

Introducing The KissBox CVToolbox

Update: Official price is 430 Euros (~$589) including VAT. Street price may be 10% less.

"The CVToolbox is a complete standalone synthesizer control engine, much more powerful than a simple networked CV interface, which replaces up to 24 Low Frequency Oscillators, 16 Envelope Generators, and 24 modulation matrices. The CVToolbox is designed to work with any vintage or modern analog machine, modular or desktop format. You can then keep the space in your synthesizer rack for signal generation and processing modules, and control these modules directly by the CVToolbox.

The CVToolbox can be used in a completely standalone mode (controlled by a MIDI keyboard over RTP-MIDI, no computer being involved in the control scheme), but it can be used also as an expansion module for musical software like Max/MSP. You can then generate any control signal in the computer and send them to your hardware synthesizer in real-time, with full 16 bits precision. We also provide a VST control plugin, which allows you to control directly your analog synthesizer from any modern sequencer or Digital Audio Workstation.

Each output of the CVToolbox supports 14 different operating modes, and can be assigned for polyphonic usage.

• Standalone HD control engine for analog synthesizers, with integral 32 bits processing paths
• Transforms any analog machine into a fully programmable system
• No computer or extra module required to generate control signals
• Replaces 24 LFO, 16 ADBSSR EG and 24 modulations matrices
• Preconfigured matrices for VCO, VCF and VCA control
• 14 functions available on each output, with 8 voices polyphony support (VCO Control, VCF Control, VCA Control, LFO1/2/3, EG1/2, Note Gate, Resonance Control, Sequencer Clock, Sequencer Gate)
• 16 bits outputs (0V to 10V) without sample/hold for maximum signal purity
• Direct integration in Max/MSP with a dedicated object, in order to generate control signals from Max/MSP in real-time (for example, using a ~adsr object)
• VST plugin used as Editor/Librarian, for direct integration in sequencers and Digital Audio Workstations"

http://www.kissbox.nl/products_midi.html

Note this is the first KissBox post on the site.

Update: The following is some more information on the KissBox.  In the bullet point above that starts with 14 functions it mentioned VCO control, so I was curious if the box had VCO functionality.  I was also curious what connection options were available for the KissBox and whether it would work with iPad editors.  The following is what I heard back from KissBox:


"The CVToolbox does not contain any VCO, VCF or VCA by itself. It is designed to control external VCO, VCF, VCA (or any other analog module), using the internal LFO, ADSR and modulation matrices. The philosophy behind the CVToolbox is very simple : it's exactly what you found in machines like Juno or Prophet or any other classical synth from the 80's. In these synthesizers, you had an analog board to generate the sound and a digital board to control the analog one. The CVToolbox is the digital control module, and it controls external analog processing chain. You can then fill your synth rack with "high values" modules like VCO, VCF and VCA, and you do not need anymore "control" modules like ADSR, LFO, etc... since they are located in the CVToolbox.

So, it's not a standalone synthesizer by itself, but it turns any analog rack into a standalone programmable machine. You just need your analog modules (in rack or desktop format), the CVToolbox and a RTP-MIDI master keyboard (or a MIDI kayboard connected to a RTP-MIDI adapter)

And it can also be hooked to a Max/MSP patch, so you can also use an external engine and control the CVToolbox from the patch, without any real limitations (since you can make really crazy things with Max/MSP) So you can choose between internal or external modulation scheme, and you can even mix the two modes at the same time (some outputs being controlled by a Max/MSP patch and others being controlled by the internal engine)"


2. How do you connect a computer to it? The port looks like an ethernet port. Does it support wireless?

"Yes, it's connected over Ethernet, using RTP-MIDI open protocol. If you want details about this protocol, you can take a look to the wikipedia page : http://en.wikipedia.org/wiki/RTP_MIDI
And yes, it supports wireless. If you take a look to the user's manual, you will see how WiFi can be involved in the CVToolbox control scheme

Just note a nice point : RTP-MIDI is public and it is even part of Mac OS since version 10.4 (and part of iOS too). This is not a proprietary protocol created by KissBox, so anybody can implement a RTP-MIDI device freely

By the way (and this has nothing to see with the CVToolbox itself), if you MIDIBox : just take a look to their forum : they have now included RTP-MIDI support in their latest firmware (and they provide test figures, which show the RTP-MIDI performances. These are independent measurement figures, not provided by KissBox in any way"


3. Would it be possible to use an iPad to edit it with something like Lemur?

"Yes, and we even have a TouchOSC patch specifically made to edit the CVToolbox from the iPad"

TT-303 clone vs. real TB-303 & First Impressions by Computer Controlled

Top demo is the TB-303. Bottom is the TT-303 vs. TB-303. Pay attention to the accents.



"first 16 bars of TT-303 clone.
after that 16 bars of TB-303.
after that 16 bars of BOTH playing at the SAME time paned L/R .
after that it's TT-303 and TB-303 back and forth to show the difference in sound.

i matched the settings and turned only cut off & resonance in exactly the same way on both machines. the pattern is programmed same way on both machines.

NO EFX is used, no comp, no eq, no reverb, no distortion.
just pure sound directly in the line in of the a2d."

There's some discussion on the AH that the accent between the two is slightly different.  If you listen to 3:24 on you'll hear that the TT-303 doesn't quiet get that classic TB-303 quick accented filter sweep.  Could be the settings?  If anyone has a TT-303 and get that sound feel free to comment.  I'll follow-up with a new post if I hear anything.

And some first impressions by Computer Controlled:

"Just got my TT-303 earlier this afternoon. After a few hours of playing with it, here are my observations.

Build Quality:
Its made of lighter weight plastic than the TB is. So it feels slightly cheaper. With batteries in it, it's lighter than the TB.
It has a glossy finish, as opposed to the TB's matte finish. I like the matte finish much better.
The switches have almost no throw to them. This takes a bit of getting used to.
The knobs do rub against the case, but this doesn't bother me at all.

CLICK FOR MORE »

ROLAND TB-303 Computer-Controlled Bassline

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"ROLAND TB-303 Computer-Controlled Bassline Acid Original barely used in excellent/ mint condition. All tactile switches and knobs in perfect working order. This is a rare find."

CLICK FOR MORE »

MMTA Synthfest 2014 Pics by Computer Controlled

Hover your mouse over the image to get the left-right slideshow controls.

Computer Controlled

See the MMTA SYNTHFEST 2014 channel for all posts featuring this year's event.

Side note: if you are on a Mac and your mouse pointer disappears, click off screen to get it back. Based on what I can find out there I believe it is due to a bug with Flash on Mac. If anyone knows of a solution, let me know.

Update: I accidentally had the TTSH and Rhythm Wolf videos under the 2013 label. They have been updated with the 2014 label.  Be sure to see them if you haven't already!

MMTA Synth Meeting 2012 (Part 8 - Computer Controlled)

YouTube Published on Jun 18, 2012 by StudioWormbone01

"This is a flyby of the band Computer Controlled's analog synth rig at the 2012 MMTA (Mostly Modular Trade Association) meeting on June 2 at the Experience Music Project in Seattle."

All parts here.

PNW2008: Computer Controlled Demos the DSI Mopho

YouTube via matrixsynth

"Computer Controlled demos the DSI Mopho at the Pacific Northwest Synth Gathering 2008."

Computer Controlled Small Modular System

more info via Computer Controlled on the forum.

Computer Controlled aka Acid Hazard at the PNW Synth Gathering 2010

YouTube via matrixsynth | July 28, 2010

http://www.reverbnation.com/computerc...
http://flightofharmony.com/

Computer Controlled goes over his eurorack modular and the Bitchin' Sync. Apologies for the shaky hand syndrome. Filmed this one with the iPhone 4 and didn't have anything to rest my arms on. Part 1 is an overview. Synth audio starts in Part 2. Don't miss Part 3 for the flight of harmony Sound of Shadows making some crazy cicada sounds.

Computer Controlled Gear P*rn

I'd be smiling like that too if I had that gear. Title link takes you to more shots on Computer Controlled MySpace page.

Roland TB-303 and Quasimidi Rave-o-lution 309.

MMTA Spring SYNTHFEST 2013: Computer Controlled - Octotrack & TT-303

Published on Mar 18, 2013 matrixsynth·273 videos

Part of Computer Controlled's performance with the Cyclone Analogic TT-303 & Elektron Octatrack. Apologies for the audio quality on this one. It sounded much better live. The TT-303 sounded great BTW.

Again, these videos are meant to give you a look at the event. Be sure to see the MMTA SYNTHFEST 2013 label for all posts on the event this year. I leave the link up on the top right of the site for a little bit while new posts come in.

New Batch of Synthfest UK 23 Videos

video uploads by sonicstate

Playlist: (you can use the player controls to skip around)

1. Synthfest UK 23: Sequential - Trigon 6 Desktop

At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.

Trigon 6 Desktop Price: $2,499

https://www.sequential.com/

2. Synthfest UK 2023: Calc And the Prophet X

At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.

Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's

Looking for some more info on the Prophet X? Check out Sequential's official page: www.sequential.com/prophet-x/

CLICK FOR MORE »

David Rogoff on VCOs

David Rogoff sent the following into the Yamaha CS80 list. I asked him if I could put it up and he gave me the OK.

"This touches on a big, somewhat technical, issue of what kind of VCOs the CS80 uses. The VCO III chip is a linear VCO, sometimes called Hz/Volt, as opposed to the more common exponential (Volts/Octave) VCOs (e.g. MiniMoog, Curtis & SSM chips in SCI and Oberheim polys).

Here's a pretty good explanation: link

Here's a (I hope) quick one:
The most basic VCO is a sawtooth one, which can be a capacitor charged by a current. For non-EE types, here's my modified toilet analog (and you though the Metasonix vacuum-tube VCO was weird) : The capacitor is like the water tank of a toilet. The water filling it up is the current. The height of the water is like the voltage across the capacitor. Now, modify the float valve so that when the tank is full it automatically flushes. Then the cycle starts again. If you double the water filling rate ( = double the current), you double the frequency of the flush cycles.

The is a basic, linear VCO (actually Water-CO). It shows a couple of things. First, it's not actually voltage controlled, but current controlled. Ignore that for now. Also, the filling time is adjustable, but the discharge/flushing time is fixed. This is an issue with all sawtooth VCOs and is why many (e.g. Moog) VCOs have a high-frequency-tracking adjustment, which helps cancel this out. Here's the CS80 VCO: link

Ok, so why don't all synths use linear VCOs? As the above link explains, human ears don't hear frequency linearly. A above middle C is 440Hz. An octave about is 880Hz, or double the frequency. The next octave would be 1760Hz: double that. If you graph this, it's an exponential curve. So, the space (in Hertz) between two notes keeps getting bigger as we get to high pitches. If you had a modular synth with linear VCOs (like that old Paia), the top key might output 5 volts. One octave down would be 2.5volts. The next 1.25volts, followed by 0.625v and 0.3125v. This is a pain to generate. Also, as you get to lower notes, smaller voltage inaccuracies start becoming bigger pitch errors to our ears.

To avoid all this, someone (anyone know who? Dr. Bob? Tom Oberheim? Don Buchla?) came up with exponential VCOs. Basically, they're just a linear VCO with a circuit in front of them called (big surprise) an exponential converter. This is just a circuit that takes a linear input (1volt/octave) and outputs the doubling voltage (actually current...) that the VCO wants. Now, everything is simple.

So, why did Yamaha go for the linear? Two reasons, I'd guess. First, adding the exponential converter to each VCO adds more cost to the chips, since there's more circuitry. A bigger issue is temperature stability. As we've been talking about lately, all circuits are affected (i.e. knocked out of tuning) by temperature changes. The exponential converter, for reasons I won't go into, is really sensitive to this. People have been complaining about the tuning stability of the CS80, but it's rock solid compared to any poly-synth with exponential VCOs (P5, OBX, A6, etc). They all need computer-controlled auto-tuning routines to have any chance of staying in tune.

So, what issues/problems/advantages does the CS80 having linear VCOs create?

Good things:
1) modulation - linear vibrato sounds a bit different than v/oct vibrato, probably closer to acoustic vibrato (e.g. violin). Also, as the modulation speed increases, you start getting into F.M. land, which requires linear modulation (you don't want to know the math!). This is why some modular VCOs have linear FM inputs in addition to the normal v/oct controls.

2) sweep to D.C. - my favorite. If you start a pitch bend at the right end of the ribbon and slide all the way to the left, the pitch of the VCOs all go down to 0Hz / D.C. / flat-line. This is because the input to the VCOs goes to 0 volts and the frequency equals the voltage times a constant. With a exponential VCO this is impossible. Going 1 volt less on the control input goes down one octave. Mathematically, you can't get to zero Hz. You'd need to input -infinity volts! Also, many other limitations in the circuit block the VCO from even getting close. Big win for linear VCOs!

Bad things:
1) Keyboard voltages - as I wrote above, the keyboard has to generate exponential voltages. This is a big pain. In a digitally-controlled analog (like the CS80, P5, etc), the keyboard voltage comes from a DAC (digital-analog-converter). 99.99% of DACs are linear. The CS50/60/80 (and others in the family) have bizarre, custom exponential DACs. This makes interfacing the CS80 to other synths and/or MIDI-CV converters a pain.

2) CV mixing. Finally, we get to the original question of adding a pitch-bend input to the CS80. In the volts/octave world, everything is easy: you just add voltages together. Adding voltages is simple to do - just an op-amp and a few resistors. Let's say you had the following voltages come out of a v/oct keyboard: 1v, 2v, 4v. This could represent a low C (c1), C one octave up (c2), and C two octave above that (c4). To make it simple, let's say we have a pitch wheel or pedal add 1 volt to this (2v, 3v, 5v). This would be c2, c3, c5, so we've just transposed the sequence up an octave.

Ok, what happens if we try this with a linear voltage. For the same c1, c2, c4 notes, we might have 1volt, 2volt, 8volt. Adding one volt gives 2volt, 3volt, 9volt. The first note is correctly up an octave, but the next is only up about a 5th and the third note is only transposed up about a semitone. This, obviously, doesn't work. What we need to do, instead, is multiply the voltages. To transpose up an octave, double the voltages. To transpose down an octave, halve them. This is easy for a fixed transpose, but if you want a variable, like a pitch-bend pedal input, you need to multiply voltages. Just like it's much, much easier for people to add and subtract than multiply and divide, so it is for analog (and digital) circuitry.

If you follow the schematics or block diagram of the CS80, you can see that the voltage to the VCOs comes through a long chain of multiplications. The ribbon is actually the initial voltage source for the whole instrument. If the ribbon isn't pressed it outputs some fixed voltage (not sure the actual value - call it 2 volts). If the ribbon is slid up, all the way, from the left to the right, it would output double this voltage, which corresponds to one octave up. If the ribbon is slid the other way, it outputs zero volts, as mentioned above. Next, the voltage is sent through the concentric pitch knobs. Any normal potentiometer is a voltage multiplier, which can multiply the input by anything from zero to one.

This voltage then becomes the reference input to the exponential DAC on the KAS board, which multiplies it by it's exponential resistor network to create the CVs for each of the either voices. These voltages go to the VCO chips on the M-Boards. Are we done - nope - one more CS80 weirdness. In a v/oct synth, the octave/foot switches would just generate a voltage that would be added to the keyboard CV (e.g. MiniMoog). The CS80 VCO, instead, has a special footage input that needs an exponential current for each feet setting. Because this is difficult to do accurately over a wide range, we end up with the wonderful VR4, VR5, and VR6 trimmers to get the feet switching calibrated separately for each of the 16 VCOs. Yuch!

Getting back to the original question (remember Alice? There's a song about Alice...), a pitch bend input would need to control a voltage multiplier. This could be an added circuit, after the ribbon circuit, or could probably be merged with the ribbon voltage. I haven't figured out the details, but it's not rocket science. However, it is a lot more work than it would be on something like a Prophet 5.

Ok, I guess that wasn't quick, but at least I didn't have an graphs or get into transistor curves or Bessell functions.

David"

LMNC Euro Filter and VCO demo!

video upload by Synth Diy Guy

"Join me as I explore the Look Mum No Computer Performance VCO and GRR Filter from Thonk that I just built!
Get yours here: https://www.thonk.co.uk/"

LMNC Grr Filter - Build video


"Thonk sent me this cool kit to build!
Get yours here:

https://www.thonk.co.uk/shop/lmnc-111...

Stay Noisy!"

LMNC Performance VCO Build


"Thonk sent me this cool VCO with a built in tuner to build! Get yours here and come build it with me!

https://www.thonk.co.uk/shop/lmnc-122...

Stay Noisy!"

CLICK FOR MORE »

Thrift Shop Toys Cover Macklemore & Ryan Lewis - THRIFT SHOP

Published on Oct 22, 2013 bd594·24 videos

From the man who brought us:
Skrillex - Bangarang - Old School Computer Remix - with a MATRIXSYNTH sighting no doubt. :)
FUN - We Are Young - Old School Computer Remix
Gotye - Somebody That I Used to Know - Old School Computer Remix
BD594 - Living on Video
Robot Band EOL covers Maroon 5 "Moves Like Jagger"
Little Drummer Boy Performed by Robot Snare Drum and HP Scanner
The Animals House of the Rising Sun Old School Computer Remix
The Bit-52's The World's Greatest Parts Band playing The B-52's - Rock Lobster
Queen Bohemian Rhapsody Old School Computer Remix
Funkytown Remixed with Old Computer Equipment

---

http://www.karaoke-version.com/mp3-ba...

"Thank you to Karoke Version for permission to use their vocal tracks in my video. Initially I tried to program the vocals with DECTalk but it was unintelligible. All the toys were purchased from Goodwill and Value Village. I apologized for my failed attempt to turn Elmo and Teddy Ruxpin into Zombies. The premise was to have rejected toys cast aside by society turn into a couple of Zombies. As always I didn't have enough artistic abilities and time to complete this.
Toys used
Yamaha CX5M - organ
Casio SA-9 - saxophone and bass
Hard drives - drums
Elmo - Main Vocals
Teddy Ruxpin - Backing Vocals
Tomy Omnibot - Robot Voice
All the toys were hacked and are controlled by two PIC16F84A micro controllers and a bunch of L298N H-Bridges."