via the seller: "For Sale is an ARP 2600 Clone known as a BroadWAVE u2K6 hand built by Andy @ Broadwave & I purchased it from him.
Below is the original info from Andy when I purchase it:
Up for Auction is a handbuilt BroadWAVE u2K6 (Micro ARP 2600). It is a one-off unit made as a pre-production to an ARP 2600 clone that I have recently completed.
Please note that you will require a MIDI to CV converter to use this synth.
It's built into a Tolexed 19" 6U cabinet with strap handle... as yet, I have no idea how to pack this for the courier - don't be surprised it it turns up in a suitcase.
Almost all of the internal circuits are copied directly from the ARP 2600 - the exception being the VCF, LFO and Dual AR envelope generators which are direct copies from the ARP Odyssey.
"Up for Auction is my self built BroadWAVE u2K6 (Micro ARP 2600). It is a one-off unit made as a pre-production to an ARP 2600 clone that I have recently completed.
I have set a reserve price at £500 to cover the cost of the initial build and the auction will run to the end - I'm afraid offers will be ignored and returns are not accepted.
Please note that you will require a MIDI to CV converter to use this synth.
It's built into a Tolexed 19" 6U cabinet with strap handle... as yet, I have no idea how to pack this for the courier - don't be surprised it it turns up in a suitcase.
Almost all of the internal circuits are copied directly from the ARP 2600 - the exception being the VCF, LFO and Dual AR envelope generators which are direct copies from the ARP Odyssey.
What does it have that the 2600 doesn't? - A Master CV section (tune all VCO's at once) with 2 FM inputs and Glide, 3 Full 2600 VCO's with sync (sync circuit taken from the ARP Odyssey), and additional AR envelope generator and an LFO with square and sine outputs (tied to the S&H clock frequency), extra multiples.
What's missing? - The 2600 reverb/mixer section and additional FM inputs on the VCO's (sadly, space did not permit these)
The VCF is the 4035 "Moog Infringement" filter from the Odyssey MkII. There is no intrinsic difference between this and the original 4012 VCF from the early 2600 - just a difference in input/output levels... it sounds great : )"
Module and tech details at the auction and captured below.
Note: Auction links are affiliate links for which the site may be compensated.
via this auction You can find video of one posted here.
"Controls: •Sig In Level (VCF1/2/3) The RS360 has one audio signal input, individual LEVEL controls determine how much of the input signal is fed to each of the filters. •Frequency (VCF1/2/3) You may control the cut-off frequencies of each of the filters individually using the FREQUENCY controls provided. When a given Frequency knob is in its fully anticlockwise position, the cut-off frequency it controls is approximately 30Hz. As you rotate that knob clockwise, cut-off frequency increases until, it its fully clockwise position, it exceeds 15kHz. •Resonance (VCF1/2/3) Each filter offers resonance, or ‘Q’, that you control using its RESONANCE knob. In the fully anticlockwise position, Q is approximately zero, and there is no emphasis of the signal at cut-off frequency. As you rotate the knob clockwise, Q increases, whereupon every mode of that filter will accentuate the harmonics that lie close to the cut-off frequency. Increasing Q further, the filters will exhibit ringing, and will severely colour the signals passed through them. If you continue to increase the resonance beyond a certain point, the filter will begin to oscillate, and each mode will produce a sine wave at the cutoff frequency determined by the various controls. This oscillation is produced by all four audio outputs. The exact nature of the wave varies from mode to mode, and you can use these differences to create tonal variations when using the RS360 as an oscillator bank. •CV-In Vary Depth controls how much the CV-In Vary input influences the cut-off frequency.
•Master Frequency modifies the cut-off frequencies for all three filters simultaneously. This knob and its associated cv input control all three filter cut-off frequencies simultaneously within the range ∞V/oct to approximately 0.4V/Oct. The former of these makes the input invariant to incoming CVs, while the latter makes it oversensitive compared to the CV-IN 1V/OCT input. Sockets: •VCF1 CV-In 1V/Oct VCF2 CV-In 1V/Oct VCF3 CV-In 1V/Oct You may also control a given cut-off frequency using the associated CV-IN 1V/OCT input. If you apply a CV conforming to the 1V/Oct standard, cut-off frequency will track the CV in exactly the same way as a standard VCO. If the CV is supplied from a keyboard then, in common parlance, the filter tracks the keyboard at 100% and, with the resonance at maximum, you can ‘play’ the filter as if it were a conventional oscillator.
•CV-In Vary modifies the cut-off frequencies for all three filters simultaneously. This socket and its associated DEPTH knob control all three filter cut-off frequencies simultaneously within the range ∞V/oct to approximately 0.4V/Oct. The former of these makes the input invariant to incoming CVs, while the latter makes it oversensitive compared to the CV-IN 1V/OCT input.
•Sig-In audio input, accepts signals in the range ±10V. •Low Output low-pass filter output •High Output high-pass filter output •Notch Output notch filter output •Band Output band-pass filter output"
"Today, we are celebrating the release of the first set of ART-equipped modules, marking the first time this technology is ready for purchase. We are starting with the release of the ATX1 Analog VCO, Vortex Digital OSC, Octopus USB/MIDI interface, ART V/OCT Quantizer, and Control Path dual analog envelopes plus VCA.
On our website, we have dedicated the ART landing page as the knowledge base HQ for ART. There, you will find plenty of educational videos, module video manuals, and uploaded video playlists of music filmed during beta testing. ART is simple to use and easy to understand, and with those videos, we made sure all aspects and potential misinformation have been addressed. Additionally, more information is in the process of being added in the coming days for both DIY enthusiasts and module makers on how to implement ART, including a free reference design that adds ART to Mutable Instruments Braids and Plaits.
The creative process of making music on a modular synthesizer is a unique tactile and aural experience. With ART modules, we are entering the territory of tunable instruments and polyphonic multi-timbral compositions but with the sound design power and immediate interface of a modular synthesizer. The initial release focuses on the mono VCOs that you can use to build voices quickly or combine for discrete polyphony. Very soon, we will extend the lineup with the fully polyphonic ART modules and the release of the Polytip patch cable."
A classic all analog saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analog polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. We consider the ATX1 the best sounding analog VCO we ever created.
"The Spherical Wavetable Navigator (SWN) is a six-channel synthesizer that makes it easy to create slowly morphing drones, polyphonic melodies, evolving sequences, and rich textures. The SWN features six wavetable oscillators with independent pitch, level, and waveform controls. Six LFOs (Low Frequency Oscillators) can be used as modulation sources and/or envelopes, making it easy to add dynamic motion to your patch. Each channel is a full voice and can be “played” using the top row of buttons, the internal LFOs, or note-change detection on the 1V/oct jacks. The SWN ships with 12 three-dimensional (spherical) wavetables and an easy interface which allows you to record and edit custom wavetables from live audio. Open-source software for Mac, Windows, and Linux called SphereEdit can be freely downloaded and allows you computer to create, edit, and convert .wav files into Spherical wavetables to transfer into the SWN with an audio cable.
Six VCOs (Voltage Controlled Oscillators), each with independent 1V/oct pitch CV and waveform selection.
Twelve spherical wavetables, plus space for up 108 user-created wavetables.
Quickly record, apply effects, and save your own custom wavetables from live audio (or by using free SphereEdit software on a computer).
Six LFOs/envelopes, each with its own output jack and controls for speed, amplitude, phase, and shape.
"cEvin Key and Subconscious Studios are pleased announce a limited quantity re-release of the most sought-after oscillator in the Eurorack range - the Model 15 Complex VCO - along with the Model 37 ELF LFO/Utility VCO - both built via automation in the USA, both utilizing SMT technology, new features and new graphics, yet both at an old bundled price!
The Subconscious Studios Rev. 4 Model 15 VCO maintains the identical circuitry of the original discrete triangle core to assure the waveform purity and timbral characteristics which made it a legend. It features two independent fully processed (+/-) VC inputs, a 1V/Oct input, dedicated linear FM input, hard sync, and independent Sine, Triangle, Saw, PWM and a vactrol-controlled Wave Morph outputs. Operational enhancements via it's discrete SMT component design assures even greater accuracy across all functions with stability now better than .005% (less than 2 hertz drift at 1kHz over 24 hours) and single-pot frequency range from 1 to 20Khzm, at a depth of just over .5 inches below the faceplate.
Model 15 Complex Voltage Controlled Oscillator
AVAILABLE NOW FOR PRESALE ONLY
packaged and shipped on or before Oct 15, 2011"
"Part of the the original groundbreaking ELF module series - the first to feature faceplate potentiometers on a 2cm wide format - the newly redesigned SMT Model 37 is now armed with dedicated outputs for triangle, sawtooth and square wave outputs. While maintaining it's super hard sync and adjustable FM response, the 1V/oct tracking has been increased to over five octaves, making the M37 the unparalleled cost alternative for multi-voiced modular synthesizers.
Model 37 Voltage Controlled LFO / Utility Oscillator
AVAILABLE NOW FOR PRESALE ONLY
packaged and shipped on or before Oct 15, 2011
The Subconscious Model 37 ELF LFO has an identity problem.
While specifically labeled as an LFO, it's massive frequency range 1 cycle per 30 seconds to over 20Hkz and new six-octave 1V/oct tracking range makes it the perfect candidate for utility audio VCO applications. Incorporating a heavily-modified version of the TAU triangle core architecture, the M37 is capable of 1v/oct tracking when the external VC Attenuator is set to the full clockwise position. The 3080 used in it's original core has been replaced with the 13700, a dual device which has allowed for improved response of the reset comparator, and with that enhanced tracking.
A one-shot driven hard Sync input will stop and restart the VCO dead in it's tracks with any input received. So unlike other VCOs, it doesn't require a square wave input to operate.
Further improvement are the M37's switch-selectable Saw/Tri waveform output switch which has been replaced in this new SMT generation with dedicated outputs for Triangle, Sawtooth and Square Wave outputs which are available simultaneously from dedicated output jacks. Further, the Sawtooth output has been phase-reversed so it is now a downward saw, which is widely accepted as being more useful in the low frequency spectra. When used in conjunction with the Sync input it will act as a user-triggerable decay-only envelope."
Note this is the first post to feature Hungry Robot Modular. We have a new maker in town. As you can see in the video above from Knobs, these are individual modules in stomp-box like format. Know the jacks are on the top face only and there are no pedal switches. These are meant for the desktop and not the floor.
"Today, we do modular synthesis, with pedals.
0:31 - Overview
1:37 - Minimal
2:07 - Not minimal
2:47 - With semi-modular
3:24 - Super-synth
3:50 - Outro
Other synthesizers:
Make Noice 0-Coast
Malekko Manther
If you want to download these sounds and listen to them while you use an elliptical machine, Patreon:
https://www.patreon.com/KNOBs"
"The Hungry Robot VCO is an all-analog, low cost, workhorse of a VCO. It can output triangle, sawtooth, and square waveforms simultaneously with tremendous bass response. The VCO has exceptional 1V/OCT tracking with FM modulation. The FM modulation input has a built-in CV attenuator as well as an inversion switch. The square wave has PWM with a built-in CV attenuator. As with all Hungry Robot "Modular Boxes" the VCO can be powered with a simple 9V DC, Negative Center power supply.
"Today I have a patch using Modor Noisy oscilltor and Modor-Control Filter, a bit of fun with Vowel using dark patch.
to this I added Black Dual VCF-Erica Synths filter for resonance which can be heard when lfo releases it from time to time by opening the filter .. but all the sound comes from Noisy VCO and Control filter. for this I used a little reverb from the Black Hole DSP module from Erica Synths and changed the filter format to the vowel some time, a slight addition of noise from the Noisy oscillator also causes the filter control to process the noise itself, which seems to create a rather dark effect.
More info about Modor eurorack modules here : http://www.modormusic.com
Noisy Oscillator module is and oscillator that mixes two signals: a 'regular' wave (sawtooth/square/triangle) and a 'tonal noisy' wave. This adds a special noisy layer over the sound, that adds 'air', grit or dirt, depending on the combinations you make. The MOD parameter acts on the noisy waveforms:
Sonar Noise: a white noise filtered by a resonant bandpass filter, with 1V/oct tracking of the filter frequency. The MOD parameter controls the resonance.
Wind Noise: white noise filtered by a comb filter, with 1V/oct tracking of the base frequency (delay). The MOD parameter controls a 6dB/oct hipass filter.
Arcade Noise: LFSR noise source as can be found on the SID soundchips (Commodore) or Sega Arcade games. The MOD parameter controls again a 6dB/oct hipass filter.
The noisy wave can be set equal, or 1 or 2 octaves above the regular wave.
The module has two voices, with their own set of CV and output connectors. This can be used to play in a full 2-voice polyphony, or in a 2-voice unison. The outputs can be separate, using both output connectors, or mixed, using only the connector of the second voice.
Next to the 1V/oct pitch CV, the module offers CV control over pitch (FM), the MOD parameter and the sound level:
FM CV: pitch control normalled to 0V, attenuated with the FM knob (+ and -). This allows for Frequency Modulation up to the lower audio range. It's of course a digital module, so higher frequencies can start inducing aliasing and digital artefacts.
MOD CV: CV control for the MOD parameter, normalled to 0V and attenuated with the CV AMT knob (+ and -).
LEVEL CV: CV control for the sound volume, normalled to 7.5V. With this CV control you can omit an external VCA stage if you want.
The CV signals of the second voice (upper row of connectors) are always normalled to the signal of the first voice (lower row), so you can use a single LFO for some FM vibrato or tremolo on both voices, for example. Only the V/oct connector of the second voice is normalled to the first voice with an extra addition of a fixed voltage that can be set using a trimmer at the backside of the module. This way you can use the 2 voices to play in unison with a fixed pitch separation you can set on the backside.
Modor's Formant Filter is a special filter that does a kind of 'vowel morphing' between three vowels. The big central FORMANT control is responsible for that, and on the Eurorack module there's of course a CV control (with attenuation) on this parameter.
You can imagine a formant filter as a set of parallel bandpass filters, picking up and amplifying a set of small frequency bands. For example, with these frequency bands around 750Hz, 1200Hz and 2800Hz, you get the sound of an 'A'. So far, nothing special. There are more formant filters around composed of a set of parallel bandpass filters.
It gets more interesting when you're able to 'morph' between different sets of those formant frequencies. Behind the central FORMANT control, there are 3 of those sets of frequencies. One at full left, one in the middle, and one fully right. So you can for example morph between A-E-O. Or U-I-E. Or AO-UI-EU. Or ...
That's what it does: morphing between different sets of formant frequencies, and that's why it sounds a lot more genuine vowelish than many other static bandpass combinators.
There are 10 preset vowels, that can be selected with the VOWEL button: A-E-O-I-OE-U-EI-EU-AO-U-UI. The vowels of the Dutch language... :-)
The 1-2-3-4 controls on top give you the possibility of composing your own vowels by manually adjusting the frequency bands."
via this auction "Model 2823 Black and orange low serial number (28230219)... Additional accessories include original ARP foot switch, and original ARP/Dunlop expression pedal with cord. Both pedals are in very good condition and fully functional. Also included are ARP Odyssey manual, ARP Odyssey patch book, and ARP Odyssey service manual. Bonus items are NEW XL ARP Odyssey t-shirt and black and orange ARP Odyssey case sticker.
Specifications
NOISE GENERATOR Noise spectrum types: white and pink
TRANSPOSE Positions: Down 2 octaves, normal, up 2 octaves
PPC Proportional pitch control Frequency shift: About 5 semitones + 1 semitone
PORTAMENTO Maximum speed: About .01 msec./oct. Minimum speed: About 1.5 seconds/oct.
VOLAGE CONTROLLED OSCILLATORS Waveforms: Sawtooth, Square, Pulse, Dynamic Pulse. Frequency range: VCO 1 in low freq. mode, .2 Hz. to 20 Hz; VCO 1 and VCO 2 (audio range) 20 Hz to 20 KHZ. Warm up drift: 1/30 semitone from turn on max. Pulse width: 50% to 5%. Pulse with modulation: ADSR, +45%: LFO, +15%. Voltage controlled response: 1V/oct. Miximum frequency shifts: LFO sine wave, +1/2 oct.; LFO square wave, +1.5 oct.; ADSR +9 oct.; S/H +2 oct. Note: VCO 1 is low note priority; VCO 2 is high note priority.
VOLTAGE CONTROLLED FILTER Type: Low pass. Frequency range: 16 Hz. to 16 KHz. Maximum usable Q: 30. Resonance 1/2 to self oscillate. Volage controlled response: 1V/oct.
VOLTAGE CONTROLLED AMPLIFIER Dynamic Range: 80dB.
RING MODULATOR Type: Digital. Input signals: VCO1 and VCO2 square waves.
SAMPLE AND HOLD Command sources: Keyboard or LFO trigger. Sampled signals: VCO 1 square wave and sawtooth wave, VCO 2 square wave and pink noise.
ADSR ENVELOPE GENERATOR Attack time: 5 msec. to 5 seconds. Decay time: 10 msec. to 8 seconds. Sustain level: 0 to 100% of peak. Release time: 15 mesec. to sec.
AR ENVELOPE GENERATOR Attack time: 5 msec. to 5 seconds. Release time: 10 msec. to 8 seconds.
AUDIO OUTPUTS High Level: XCR 2.5 V PP max.; 100K impedance. Low Level: .25 V PP max.; 10K impedance.
INTERFACE JACKS Keyboard CV IN/OUT: 1 V/oct. Gate OUT: +10 V, Key down; O V all keys up. Gate IN: +8 V minimum. Trigger OUT: +10 V pulse on key depression, 10 microsec, duration. Trigger IN: +8 V pulse min., 10 microsec duration minimum. External Audio Input: 500 millivolts for full output."
"This video shows sound from the Noisy Oscillator and Comb filter from Modor modules eurorack.
A little added noise from the oscillator from the second voice as you see the knob mix and also subtle filtering from Comb Filter to get a partial flanger effect without too much modulation.
later we got a little more effect with Fb-feedback regulation and a larger delay type, ie a stronger effect on the longer time generated by Comb filter.
Noisy Oscillator module is and oscillator that mixes two signals: a 'regular' wave (sawtooth/square/triangle) and a 'tonal noisy' wave. This adds a special noisy layer over the sound, that adds 'air', grit or dirt, depending on the combinations you make. The MOD parameter acts on the noisy waveforms:
"A-110-4 is a so-called Thru Zero Quadrature VCO. The term "quadrature" means in this connection that the oscillator outputs sine and cosine waveforms simultaneously. The term "Thru-Zero" means that even "negative" frequencies are generated. But this a bit a misleading term as negative frequencies do not really exist. "Negative" means in this connection simply that the sine/cosine waves will stop when the linear control voltage reaches 0V and continue with the opposite direction as the linear control voltage becomes negative and vice versa.
The module has two control sections: linear and a exponential. The exponential section consists of the XTune control, the 1V/Oct input and the XFM input with the corresponding attenuator XFM. The exponential control voltage is the sum of these three voltages. The linear section consists of the LTune control and the LFM input with the corresponding attenuator LFM. The linear control voltage is the sum of these two voltages. A dual color LED is used to display the polarity of the linear control voltage (green = positive, red = negative). The resultion pitch of the sine/cosine outputs is determined by the resulting control voltages of both sections. The linear section is used to control the pitch in a linear manner. When the LTune control (LTune means Linear Tune) is fully CW the module works like a normal Quadrature VCO (e.g. like the A-143-9) and the LED lights green. The pitch is then controlled by the exponential section with the manual Tune control and the exponential frequency control inputs 1V/Oct and XFM. 1V/Oct is used to control the pitch by a 1V/Oct CV source (e.g. sequencer or Midi/USB-to-CV interface). XFM is used to apply an exponential frequency modulation with adjustable depth (e.g. from an LFO or another VCO). As the LTune control is turned counterclockwise starting from the fully CW position the frequency is lowered in a linear manner until the sine/cosine waves stop near the center position of LTune (provided that no LFM signal is present). As the LTune control is moved from the center towards the CCW position the waves start again but into reverse direction and the LED turns red. When the fully CCW position of LTune is reached the module works again like a normal Quadrature VCO. But much more exciting is the usage of the LFM input to modify the linear control voltage by an external control voltage (typically another VCO). Linear modulation by another oscillator using the thru zero feature generates audio spectra than cannot be obtained from an oscillator without the thru zero function. The reason is that a "normal" VCO will simply stop as the linear control voltage becomes zero or negative. But a thru zero VCO will start again with "negative" frequencies as the the linear control voltage becomes negative.
The main advantage of the A-110-4 compared to other Thru Zero VCOs is that the design used a sine/cosine core. The sine/cosine waves are not derived from other waveforms (e.g. sawtooth or triangle) by means of waveshaping. Rather the sine and cosine waves are the core of the VCO which results in very pure waves with a minimum of distortion and overtones."
"Erica Pico MSCALE (Moog Scale, to be specific) is precision scaler to adapt Moog Mother 32 to eurorack standard 1V/oct control voltages.
Those, who own Moog Mother 32 know, that it requires -5V - +5V on 1V/oct input to operate in full range, while the eurorack standard is 0V - +10V. So, to control Moog Mother 32 from a eurorack sequencer you need to bias a sequencer output for 5 volts down. And vice versa – Moog Mother 32 sequencer outputs -5V - +5V on 1V/oct output, and, if you wish to control some eurorack VCO from Moog Mother 32, you need to bias it 5 volts up. This is exactly what MSCALE does – it has two sections – upper one adds 5V to the input voltage, other subtracts 5V form the input voltage. Of course, the module is not limited for use with Moog Mother 32 only. You can use it as a regular eurorack precision voltage scaler.
Features:
Precision scaler to adapt Moog Mother 32 1V/oct to eurorack standard
Moog to eurorack section
Eurorack to Moog section
High precision, high temperature stability
Skiff friendly, compact design
With Pico Series we challenged ourselves – can we make ANY superior functionality synth module 3HP wide and affordable? Yes, we can."
"Elektor Formant is Moog- like style analog modular synthesizer designed by C. Chapman with 1V/oct. VCO charakteristics. Modules are connected internally together thus synthesizer is playable without using patch cords. Nevertheless, the interconnection has no effect to possibilities of a modular system. Plenty patch cords are attached to the instrument.
This Formant was precisely made in the Switzerland approximately in 1985-88. An appearance and working condition are very good, the synthesizer was serviced, adjusted, new interconnection between modules was made, electrolytic capacitors on the PSU are replaced.
Other accessories: Original documentation with schematics, patch cords, CV and GATE 6.3” conectors on the rear panel. Standard 230V power input. Weight 20kg, 54x61.5x27 (cm)
Modules overview:
4x VCO
waveforms: sawtooth, trianle, sinus, pulse, spaced sawtooth, all waves can be mixed freely together
1V/oct. characteristics, switch for internal/external CV
FM input with gain control
PWM input with gain control
PW control
coarse, fine tune controls
output gain + conector
1x 24dB VCF
cutoff input with gain control
ext. Signal conector with gain control
output signal conector with gain cotrol
cutoff, resonance, ADSR controls
LP/HP switch
6,12,18,24 dB switch
Serial / parallel switch
VCO1/VCO2 switch
1V/oct. characteristics, switch for internal/external CV
1x 12dB VCF
cutoff input with gain control
ext. Signal conector with gain control
output signal conector with gain cotrol
cutoff, resonance, ADSR controls
LP, HP, BP switches, combinations are possible
Serial / parallel switch
VCO3/VCO4 switch
1V/oct. characteristics, switch for internal/external CV
2x Dual VCA
AM input and gain control
Ext. Signal and gain control
Gain control
ADSR on/off switch
4x ADSR
Great condition, comes with original box and adaptor! Rare and out of production. Comes housed in 5FW case.
Chirper is a semi-modular arrangement of two oscillators and one filter – a simple setup which belies the rich sonic surprises contained within. It is a direct continuation of , which itself was something of a reaction to my long-evolving works – after 10+ years I was feeling the call for new pastures and, while I enjoyed their deep electronic ecosystems, the lo-fi Weevil circuitry was never suitable for voltage-controlled work. The solution was to tweak ideas I’d been using in the , slightly simplifying some circuits to bring about an instrument with enticing layout and a fine balance of limitation vs. possibility.
Have a look at the Block Diagram above to see how Chirper is put together:
– the two Voltage-Controlled Oscillators are identical, with wide range (approx 0.15Hz to 100kHz) and sweepable from Triangle to Square.
– each oscillator has a Sync input along with Internal (from the other oscillator) and External (1V/Oct) Modulation controls. Things go nutty when the oscillators cross-modulate each other!
– the Voltage-Controlled Filter, with resonance up to self-oscillation and sweepable from Low-pass to High-pass, is fed audio from the 1st Oscillator (via Drive control) and is modulated by the 2nd Oscillator and/or an External (1V/Oct) source.
Of course, there is no internal VCA, so do be prepared for drones! [complimentary modules are in the pipeline] Note also that the 1V/Oct responses of the Oscillators and Filter are only quite accurate – fine for good tracking over a few octaves – and does not feature temperature compensation. Chirper was designed more as a surprise box than a well-pitched synth, but I saw it as a bonus to add simple 1V/Oct response.
4mm banana sockets are used for all I/O other than the Main Output which is 1/4″ Mono Impedance Balanced. The Instruction Sheet has details of interfacing with banana cables."
"THE HARVESTMAN HERTZ DONUT IS SEQ’D FROM OBERKORN, SAME SEQ FROM OBERKORN MODULATING THE MOD BUS ON HERTZ DONUT
MAKE NOISE STO SAME SEQ’D FROM OBERKORN
MAKE NOISE OPTIMIX CH.1 HERTZ DONUT TRIGGER FROM GATE X FROM OBERKORN, CH.2 IS THE STO TRIGGERED FROM GATE Y FRO OBERKORN
MAKE NOISE FUNCTION TRIGGERED BY TRIGGER RIOT
MODCAN DUAL DELAY INPUT 1 HERTZ DONUT, INPUT 2 STO, FILTER CV FROM FUNCTION, MAIN OUT TO MIXER.
909 TOMS, TRIGGERED BY TRIGGER RIOT, TUNE CV FROM OBERKORN THRU TELEPLEXER, OUTPUT TO MIXER
TELEPLEXER OUT 1 TO DELAY TIME1 ON MODCAN, OUT 2 TO TO ECHO CV ON MODCAN, OUT 3 TO CV TUNE OF LOW TOM ON 909 TOMS, INPUT CV’S FROM OBERKORN 1 AND 2"
"wogglebug ring mod out to ch1 of optomix, stepped out to plexer1 and sot 1v/oct, random gate out to strike ch2(sto), clock out to strike optimix ch1(bug ring mod)
sto 1v/oct from wogglebug chaos/stepped out, shape from teleplexer via wogglebug stepped out or function (lfo)
optomix ch1 is ring mod out from wogglebug, strike is from clock out from wogglebug, ch2 is sot, strike is from random gate out from wogglebug
function slow cycling lfo, fall time modulated by woggle cv out
dual delay input 1 is ring mod from wogglebug via the optomix, input 2 is sot via optomix
teleplexer out 1 to dual delay cv2 delay time, out 2 to sto shape input. plexer1 is chaos cv from wogglebug, plexer2 is slow cycle(lfo) from function"
"rene gets clock from qcd tap and then to echophon tempo in
rene qcv to 1v/oct dpo oscb and to 1v/oct on sto
rene cv to freq1 on mmg
rene gate x to strike dpo
dpo final to phonogene in broken echo mode with modulation to the varispeed and slide from teleplexer
teleplexer’s plexers are red is complex lfo from maths, green is lfo from qplfo
both sto’s run into mmg, mmg to optomix ch1
optomix ch1 strike from mixed trigger signals in the xaoc bytom
optomix ch2 is dpo final out via the phonogene in broken echo mode
optomix sum out to echophon
qcd is clocking the qplfo, bytom, and function
qplfo modulates the both input on the function, the function cv out to sto1 shape and lin in
tiptop z4000 modulates dpo fold cv gain
echophon out to mixer
teleplexer out1 to dpo fold mod bus index and phonogene slide cv in. out2 to phonogene varispeed and freq2 mmg. out3 to input on function and echotime on echphon"
"Thanks for watching! #modular #eurorack #moonlightsonata
This time around all sounds that are being heard, come from the modular system, but the entire sequence is comprised of 4 monophonic MIDI tracks inside of Ableton. Each of the tracks has a CV Instrument plugin from the CV tools package. I am using my Expert Sleepers ES-9, which is a DC-coupled interface, which allows me to send clock data, CV, and Gate outputs directly from Ableton into eurorack modular without a need of a MIDI interface. I am using 4 monophonic tracks because the interface has 8 DC-coupled outputs, which are being used as follows: 1- Gate for melody track 1 The first gate out is going into the first input on the Ornament & Crime Digital Multi-function module in 4 x EG mode, which gives it 4 variable-clock envelope generators with a visual oscilloscope. From there, gate output from o_C goes into Mutable Instruments Plaits as a trigger input. The output of plaits goes through the first channel of Qu-Bit Tone for filtering, and then into the first channel on a quad VCA, and then into the first audio output on the ES-9. 2- Pitch/CV for melody track 1 The first pitch/CV out is going into the 1V/Oct input on the Mutable Instruments Plaits, to control the pitch of it, directly from Ableton’s first monophonic track. 3- Gate from melody track 2 The 2nd gate out is going into the Ornament & Crime’s (o_C) second envelope generator. Then it goes into the Strum input on the Mutable Instruments Rings, which is the 2nd oscillator in this patch. From Rings we have the identical signal patch as on the first track, but on the 2nd channel of each subsequent module. (Filter → VCA → Out) 4- Pitch/CV for melody track 2 The second pitch/CV out is going into the 1V/Oct input on the Mutable Instruments Rings, to control the pitch of it, directly from Ableton’s second monophonic track. 5- Gate for melody track 3 The 3rd gate out is going into the Ornament & Crime’s (o_C) second envelope generator. Then it goes into the CV input on 3rd channel of my VCA: Mutable Instruments Veils. Then it goes right into the audio output 3 on the ES-9. 6- Pitch/CV for melody track 3 The third pitch/CV out is going into the 1V/Oct input on the Instruō Cš-L (Dual Complex Oscillator), to control the pitch of it, directly from Ableton’s third monophonic track. 7- Gate for melody track 4 The 4th gate out is going into the Ornament & Crime’s (o_C) second envelope generator. Then it goes into the CV input on the 4th channel of my VCA: Mutable Instruments Veils. Then it goes right into the audio output 4 on the ES-9. 8- Pitch/CV for melody track 4 The fourth pitch/CV out is going into the second channel’s 1V/Oct input on the Instruō Cš-L (Dual Complex Oscillator), to control the pitch of it, directly from Ableton’s third monophonic track.
Now we get into the surround and miscellaneous modulations, which control the piece’s stereo movement, giving it spaciousness and an emotional feel. The output from Mutable Instruments Plaits is split, the first route is going just like it is described in the first 2 points above. The split output is going into the Mutable Instruments Clouds (which is being heavily modulated by the Divkid øchd module (8 drifting LFO). And then from there, it is going stereo l/r out into the ES-9s extra inputs. The Rings output follows the same convention, as it is also being split, but it on the other hand goes through Instruō Arbhar, and then into Instruō Lúbadh for additional processing. The stereo output from Arbhar is going into the ES-9, and one of the outputs from there is being split to also go into the Lúbadh. (Arbhar is a granular processor, and Lúbadh is a digital 2-track reel-to-reel tape machine)
Additional multi-band compression, EQ, and Limiting are done in the post inside of Ableton on the Bus level to minimize the unnecessarily large amount of processing, for a clear modular tonality.
Perks of being a member include Patch from scratch videos, behind-the-scenes, HD pictures of gear and such, unreleased music, sample packs, and many more :)"
"Chirper is a semi-modular arrangement of two oscillators and one filter - a simple setup which belies the rich sonic surprises contained within. It is a direct continuation of Molnet, which itself was something of a reaction to my long-evolving Weevil works - after 10+ years I was feeling the call for new pastures and, while I enjoyed their deep electronic ecosystems, the lo-fi Weevil circuitry was never suitable for voltage-controlled work. The solution was to tweak ideas I'd been using in the SynthVoice, slightly simplifying some circuits to bring about an instrument with enticing layout and a fine balance of limitation vs. possibility.
Have a look at the Block Diagram above to see how Chirper is put together:
- the two Voltage-Controlled Oscillators are identical, with wide range (approx 0.15Hz to 100kHz) and sweepable from Triangle to Square.
- each oscillator has a Sync input along with Internal (from the other oscillator) and External (1V/Oct) Modulation controls. Things go nutty when the oscillators cross-modulate each other!
- the Voltage-Controlled Filter, with resonance up to self-oscillation and sweepable from Low-pass to High-pass, is fed audio from the 1st Oscillator (via Drive control) and is modulated by the 2nd Oscillator and/or an External (1V/Oct) source.
Of course, there is no internal VCA, so do be prepared for drones! [complimentary modules are in the pipeline] Note also that the 1V/Oct responses of the Oscillators and Filter are only quite accurate - fine for good tracking over a few octaves - and does not feature temperature compensation. Chirper was designed more as a surprise box than a well-pitched synth, but I saw it as a bonus to add simple 1V/Oct response.
4mm banana sockets are used for all I/O other than the Main Output which is 1/4" Mono Impedance Balanced. The Instruction Sheet has details of interfacing with banana cables.
Interface and/or banana cables are available.
Chirper is typically supplied in Standalone form as shown - enclosed in a custom aluminium case with PCB material front and side panels, dimensions approx 5.25" x 7.5" x 3.5", and with internal DCDC converter. Power - 12V DC 300mA supply, centre-positive, 2.1mm connector - worldwide 90-240VAC wall-wart provided with interchangeable mains plug adaptors.
Price: £320 (+VAT in EU -> £384) + Shipping
Chirper can also be supplied as a module to fit into larger BugBrand systems using Powered Frames - make contact direct.
"Let me introduce you to the VCMC from Befaco. It takes all your Eurorack CV modulation, notes and gates and maps them into MIDI so that your DAW or your MIDI synth or soft synth can be controlled and played from your rack. With VCMC you can incorporate soft and hard synths into your Eurorack workflow - that's blooming excellent!"
VOLTAGE CONTROL YOUR MIDI GEAR! with the Befaco VCMC
Published on Oct 24, 2019 DivKidVideo
"Here we have a lovely final piece of the puzzle in terms of studio and live connectivity between voltage controlled gear (primarily Modular Synths) and MIDI gear. The Befaco VCMC is a "voltage controlled MIDI controller" that provides 8 gate inputs, 8 buttons, 8 faders, 8 CV inputs and 2 additional aux inputs that can all be configured for various 1v/oct + gate to MIDI note, gate to MIDI note, MIDI CC, velocity, pitch bend and a whole manner of MIDI data. Set up is relatively quick and easy selecting the input, choosing it's function and then it's MIDI channel. Once your voltages are converted to MIDI you have a USB B and 5 pin DIN MIDI output to connect to all your MIDI gear, modern, vintage, computer based etc. I have more videos to come with the VCMC including looking at using Bitwig and the Boss RV500 reverb pedal. Do let me know what else you'd like to see with the VCMC in the comments.
TIMING INDEX // SECTIONS
00:00 intro and previews
02:22 Getting around VCMC and basic set up
03:12 Monophonic CV gate control of a MIDI synth. Korg MS-20 (kit version).
04:19 Setting up the MS-20 1v/oct to MIDI note patch
05:08 A quick look at the new Instrument Interface from Befaco (used for processing external gear through the modular set up in this video).
05:29 Sequencing the Korg Volca Sample with modular gate sequences + using stepped random CV to modulate MIDI CC parameters AND an additional slider CC controller.
06:52 Setting up gate sequencing and voltage modulation patch.
08:18 Duophonic sequencing of a Casio CZ-1 phase distortion synth. Using two pairs of gates and 1v/oct signals.
09:17 Setting up duophonic voltage sequencing
10:40 Modular fader box to voltage control DAW software"
Boss DM-2w connected and modulated via ALM Busy Circuits S.B.G Stompbox Gateway.
Patch notes:
ALM Busy Circuits Pamela's New Workout is supplying pitch CV, modulation, and triggers for the whole patch.
Channel 1 and 2 are running two different euclidean patterns of attenuated and offset random CV, those are joined by the precision adder on Mutable Instruments Links and then sent to the Intellijel uScale II, and then to Rings.
Channels 3, 4, 7 and 8 are sending LFO to brightness, frequency, damping and position on Rings.
Channel 6 is sending triggers to the trigger in on Clouds.
Channel 5 is sending a heavily attenuated random CV to the EXP input on the S.B.G, which is then converted to expression pedal, and sent to the expression pedal input on the Boss DM-2w.
All channels on Pam's are making heavy use of the random step skipping.
Mutable Instruments Rings is in sympathetic strings mode with 4 note polyphony. The odd output is patched into the input of the S.B.G, out to the Boss DM-2w and back again, and from there to the Clouds.
Boss DM-2w is in the custom mode, with medium feedback.
Mutable Instruments Clouds is the last step in the patch, adding some extra ambience and some stereo movement.
