NEW MODULE! Low Fat - 2HP Voltage-controlled High Pass Filter - Features, Examples & User Guide
video upload by AJH Synth Official
"The LOW FAT is a new 2hp Eurorack module by AJH Synth, it's a High Pass filter, with frequency control by either manual pot, and/or external CV with attenuator. It's intended to compliment other filters, particularly low pass VCF modules, in practical tasks such as removing excessive low frequencies, for example when the bass is swamping a mix. However, because it can be voltage-controlled it can also be used musically as with any other VCF. When used in conjunction with a LP filter it forms a fully customisable band pass filter, allowing the range of passbands to be cherry-picked. This can be particularly useful in creating percussive sounds, such as snares and hats, but also on sequenced bass lines.
Since it is only 2HP it's a great way to occupy one of those frustrating gaps in your eurorack modular case with something that is deceptively useful, and adds another dimension to the classic bass monster that is the Transistor Ladder Filter.
Visit the module page on the official AJH Synth website: https://ajhsynth.com/LowFat.html
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
"A demonstration of a modest 6U 84hp Eurorack modular system by AJH Synth, incorporating a 3-VCO MiniMod voice based on the R.A. Moog Minimoog, Gemini 2412 dual VCF based on the Oberheim SEM filter, and a couple of very useful utility modules, particularly the Ring SM. This setup can be used as 2 separate synth voices, demonstrated here in this 'Berlin school- inspired performance.
The complete MiniMod voice is a combination of 7 modules directly based on the first, more sought-after version of the Minimoog, along with it's characteristic behaviours. The Transistor Ladder Filter behaves in the same way, 'Emphasis' (resonance) robbing a little of the low frequencies at higher levels, the Contour Generators having a cumulative/stacking level behaviour when triggered rapidly, and the Discrete Cascaded VCA (also the VCF input levels) driving and distorting the signals when pushed.
Here the MiniMod is used as a 2-voice monosynth, with one of it's VCO's being donated to the lower voice, filtered by the Gemini multi-mode filter. It sounds much bigger than a single VCO voice thanks to the Ring SM.
The Ring SM provides a Moog CP3-based 5-channel mixer, a 3-axis analogue ring modulator based on that from the vintage EMS Synthi/VCS3, and particularly useful in this patch - 2 sub-bass generators, providing -1 and -2 sub-octaves to an incoming signal. This produces shaped sine waves, as opposed to more hollow-sounding square waves often used by other synths or modules, so they sound warmer, fuller and fatter.
The Muting Mixer is used as a second VCA here for the Gemini voice. However, it has a 'Distort' feature that emulates the old Minimoog trick of sending the headphone output to the VCF input to create a feedback loop and some additional overdrive/distortion. As a result it can make a good alternative to the Discrete Cascaded VCA, but even the latter can add significant drive to the signal. This module could also be used to simulate the Minimoog's VCO and noise switches, but for 5 signals of your choice, as it features illuminated 'Mute' switches, allowing sound sources to be instantly switched in and out of a patch, and at their own volume levels.
The Dual LFO + VCA is especially useful here, as it gives plenty of modulation, without having to sacrifice a VCO for that purpose. It also has a built-in VCA, allowing it's level to be controlled externally, perhaps with an envelope or Mod wheel for delayed or expression-controlled vibrato.
This rig also has a third envelope in the powerful DH-ADSR, but it's not used in this patch, along with the Precision Voltages, which among other uses allows pitch intervals of 2 VCOs to be controlled accurately and conveniently, selecting between octaves and semitones set by the rotary pots and switches. This is super useful for live performances.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Meet us and the modules in person this year at Superbooth 23, Berlin, on May 11th to 13th.
"Some fat synth bass line sounds using a variation of 2 VCO, Ladder Filter, Wave Swarm for a thick sawtooth pad, and Ring SM for sub basses. Either or both of these 2 modules add a lot of scope to the sound of even a single VCO, even more so with two. Patch notes at the bottom. The Wave Swarm uses it's 12 waveform animators to create thick, buzzing supersaw style sounds, from either a single saw wave, or from two independent saws, even as part of two completely separate monophonic synth voices, even a two-voice polyphonic patch. Check the links below for User Guide and some patches. The Ring SM has both a vintage-voiced, fully analogue ring modulator, modelled on the ring mod from the EMS Synthi and VCS3, but it is also a 5-channel Moog CP3 style mixer, capable of soft clipping overdrive/distortion, and most importantly for bass patches - a sub bass/sub-octave generator, needing only a single VCO to generate both -1 and -2 sub octaves simultaneously. All functions can be used together, or on their own. The sub basses are shaped sine waves, which sound thicker and deeper than plain square waves, which are most commonly used by synths as sub basses.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
Meet us and the modules in person this year at Superbooth 23, Berlin, on May 11th to 13th.
"Un-quantised, old-school sequencer fun: Inspired by early sequenced electronica such as Tangerine Dream and Klaus Schulze, much of whose music used a Moog 960 sequencer, which didn't have quantising features, and were sometimes difficult to tune accurately or reliably. Such as the track 'Phaedra' by Tangerine Dream, during which the Moog performing the opening pattern had to be re-tuned during the actual recording, and it was left on the album! Yet it sounds great, it's imperfect tuning adds so much to the atmosphere of the music, irrespective if it was deliberate or a 'happy accident'.
Here I use an un-quantised sequencer, in fact an Erica Synths Sequential Switch, with it's CV expander that turns it into a great little 8-step sequencer. I also run it through the AJH Synth CV Mix, to offset the CV going to the oscillator, allowing me to push the output into the negative CV range. I then send this shifted signal to the VCO's frequency modulation input instead of the 1V/Oct... just to make it more difficult to tune! Seriously though, this was a fun experiment, and taking off the digital stabilisers (or quantisers) once in a while is highly recommended, and a good learning experience.
This was an all-modular session - no external FX or mixing, just Eurorack modules for all functions.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
Meet us and the modules in person this year at Superbooth 23, Berlin, on May 11th to 13th.
"The SAMPLE HOLD & SLEW is a 12hp Eurorack modulation source, featuring both sample & hold, track & hold, a restrict function, internal noise source with colour control that can also be used as audio, internal clock that can be sent to other modules, and external clock control. It also has a well-featured Slew section, with selectable slew up and down only, gate control to switch it on and off, linear or exponential response, and this section can be used completely independently from the rest of the module. This module can function extremely well independently, having it's own built-in clock and noise source to generate random voltages. However, it can also serve as a master clock for a generative patch, or triggering a sequencer. Alternatively, it can be slaved to a sequencer's clock, the gate output of any CV controller/keyboard, or other modules, so that it can generate random voltages in time with the music, even allowing the slew (or glide) to be added to individual steps in a sequence or pattern. This module is brilliant for making sequences more interesting. As a simple noise source the bi-directional colour control applies low-pass or high-pass filtering. This is also useful when used with the sample/track & hold to determine the range of random frequencies or voltages that will be generated, as is the Clipped noise feature, which creates more significant differences between each sample, and the Restrict control that limits how far each new generated voltage can be from the last. When also used with the Slew and Exponential features it can then generate a smooth, ever-changing CV signal, which is ideal for use in drone sounds, modulating a VCF, VCO, VCA, an LFO, and any other modulation or audio.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
Video by @DreamsOfWires
Index: 00:00 Intro 00:27 Overview 02:10 Module & Installation 03:23 Sample & Hold 04:15 Track & Hold 06:38 Internal Clock 07:28 External Clock 09:25 Slew Gate 12:49 Crushing Audio 15:37 Noise Explained 18:46 Clock Out as LFO 19:47 Usage Examples 24:04 Jam Session"
"Minimal Synth & Percussion Jam: 3 VCO's into Ladder Filter, then Fixed Filter Bank 914, with DH-ADSR envelope control over mix of both filters. Also down-sampling/bit-reduction effect using the Lunar Module to crunch then distort incoming audio/drum pattern from an iOS app (Patterning 1).
The classic Moog Modular-based Fixed Filter Bank 914 totally transforms the sonic character of the output from the Minimoog-based 24dB low pass VCF, creating a vocal/choir timbre, which is fed 3 sawtooth waves, each with their own LFO/modulation. The envelope automates the FFB module's built-in mixer, morphing the sound from just the Ladder VCF, to the Ladder through the Fixed Filter Bank.
The Lunar Module is great for taking a too-hi-fi sound and giving it some lo-fi character, with optional crunchy distortion, making it sit more comfortably alongside it's analogue Eurorack neighbours. Old-school, vintage-voiced sounds and circuitry FTW.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
"A more realistic flute patch than you'll find on classic vintage synths, showing how it's possible to attain a more convincing recreation of an acoustic sound with modular synths, and without the need for samples or digital modules. A truly realistic flute is too much of a tall order - a greater amount of modules, and a more complex controller, would no doubt get you nearer, but here is a more modest way of achieving a reasonable, and nice-sounding impersonation. Some of the early self-contained synths of the 1970's tried to make useable impersonations of 'real', acoustic or familiar instruments using easily-selectable presets with a very simple voice architecture. Some sounded better than others, but whilst they were often sonically appealing in their own right, they were seldom anywhere near realistic. Among the more famous were the ARP Pro Soloist, Roland SH1000/SH2000, and the Korg 700/700S - all of which very characterful and unique instruments, with their own strengths, and much loved to this day. This patch is a nod to those classic synths, but also exploring what is possible now with modest amount of purely analogue Eurorack modules. Patch sheet with notes below.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
Video by @DreamsOfWires
Patch Sheet: https://kvisit.com/8AE/kYAH NOTES _______ Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. Multiple cables may branch from one output to different destinations, so here a multiple should be used. This patch needs a lot of fine-tuning, so precise pot positions cannot possibly be illustrated, but this should serve as a starting point, from where further experimentation should be applied. The video tries to explain what is happening with the core modules, which should make it easier to understand what needs fine-tuning. KEYBOARD: Here the controller's MOD output is used to send Aftertouch, but alternatively Velocity, or direct control from the MOD wheel/strip could be sent to the Dual LFO's CV input instead, depending on your controller and personal preference. In the video I also used the Glide module as 'slew' to soften the harsh changes in aftertouch CV from this particular controller, which may not be needed on others. TAP TEMPO LFO: Because the base tempo is selectable by tap, the rate of the LFO will have to be set by ear. VCO: If you don't wish to use the envelope to affect PWM, then PWM SHAPE will need to be set just below -1 - the envelope makes a subtle difference here, changing the shape of the VCO's sound slightly. NEXT PHASE: This is optional, as the noise is heard subtly in this patch, and only becomes more apparent when the AUDIO MIX of the Gemini is in favour of VCF1 (noise) rather than VCF2 (VCO), but to my ears it makes the sound of the noise more similar (see video description). GEMINI 2412: I'm using the 'high resonance' setting on VCF1. which is set by the rear jumper, or optionally using the Gain Switch (see User Guide video or manual on the website. Without it the resonance will need to be set to maximum, but still might not be quite enough. Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO, Contour Generators, V-Scale, Tap Tempo VC-LFO, Next Phase, Gemini 2412, Discrete Cascaded VCA.
"This was loosely inspired by the 'pan flute' sound from the film 'Aguirre: Wrath of God', and uses a single VCO, white noise, and envelope-controlled filtering to simulate the pipe and breath elements that form the sound. Fixed Filter Bank sculpts the noise, removing low frequencies and pushing selected highs, before being mixed into the Sonic XV's bandpass filter along with the square wave from the VCO. Importantly, the FFB's wet/dry mix is also controlled by an envelope here, a rare feature on a filter bank. Pulse width modulation from red noise ads a subtle distortion to the oscillator, and the VCA in the Dual LFO is used to ad optional pitch vibrato and VCF frequency modulation.
Patch sheet PDF: https://kvisit.com/8AE/_v8G
Aside from the flute scene (see link in video), the movie soundtrack was mostly the brilliant work of Popul Vuh, and makes the official album release worth listening to regardless of the movie, with memorable use of Mellotron. However, the Werner Herzog movie itself is equally brilliant and memorable, a captivating, immersive experience to watch, made on an unimaginably small budget, yet a direct influence on Coppola's 'Apocalypse Now' a few years later.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
PATCH NOTES:
------------------------
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. Multiple cables may branch to different destinations, this is where some form of multiple should be used.
This patch needs a lot of fine-tuning, so precise pot positions cannot possibly be illustrated, but this should serve as a starting point, from where further experimentation should be applied. The video tries to explain what is happening with the core modules, which should make it easier to understand what needs fine-tuning.
KEYBOARD: Here the controller's MOD output is used to send Aftertouch, but alternatively Velocity, or direct control from the MOD wheel/strip could be sent to the Dual LFO's CV input instead, depending on your controller and personal preference.
DUAL LFO: Output goes directly to EXP-CV of the VCO, and IN 1 of the CV MIX.
CV MIX: This module is used here to combine the CV from the LFO and Contour Generator 1, then to fine-tune it, before sending to Sonic XV and Fixed Filter Bank.
FIXED FILTER BANK 914: The IN 2 pot needs to be at zero - this sets the Dry level to zero if nothing is connected to the IN 2 socket, so that when the envelope changes the Wet/Dry level it is in fact affecting the output level of the module, as only a varying portion of the Wet signal is then sent to the Muting Mixer.
Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA, Dual LFO + VCA, CV Mix, Muting Mixer, Fixed Filter Bank 914."
"This week's 'Patch of The Week' uses the powerful NEXT PHASE Eurorack phaser module as though it was a VCF, with a step sequencer controlling it's frequency by CV - this allows suitable frequencies to be cherry-picked to suit each sound or event. Here the Next Phase is being fed 2 VCO's and some pink noise, which it is tone-shaping to create a human voice-like timbre. The 2 sawtooth waveforms are being pitch-modulated by separate sources to create some organic, human-like instability, and noise is added to give some 'breath' to the tone.
The Next Phase is a complex beast, whilst it can be used very simply and easily, even just to emulate the best phase pedal designs of the past, it can however go way beyond that. Extensive CV control of parameters, coupled with a total of 64 combinations of both 12 phaser 'Stages' and 12 'Emphasis stages', means that this is a very powerful tool for creating unusual or otherworldly textures and soundscapes. See our Next Phase User Guide video for examples."
"There are many forms of envelope generator, and simpler forms of EG are popular nowadays, for convenience and space-saving, but is the good old Attack/Decay/Sustain/Release or ADSR envelope still worth having? All forms of EG have their pros and cons, so here we'll take a look at how the ADSR works, and some examples of why you might want at least one in your Eurorack case. The focus here is on usage with a keyboard, as this is where a full envelope really shines, since it can also do the same job as simpler forms, such as AD, AR, etc.
The DH-ADSR featured in this video is an expanded version of a single envelope from the Contour Generators module, and so it is also based on the classic all-analogue Minimoog EG section, and shares it's characteristic behaviour. It adds a separate control for Decay and Release, along with an inverted output, with two voltage ranges set by an internal jumper. It also has a 'Slow' mode, for very long envelope times, and a looping/repeating re-trigger function, meaning that it can be used as an LFO, with custom rise, hold, and fall times, or as a delayed envelope for use in conjunction with another EG in order to create complex, evolving envelopes.
See our User Guide video for more about this module:
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
"This Patch of The Week shows how the vocal sound was created that featured in the Klaus Schulze tribute video. It uses the Sonic XV Diode Transistor Ladder Filter for both it's band pass filter, and it's built-in wave folder. Patch sheet at the end of video, plus a download link for a PDF version with notes further down the page.
Musical Tribute to Klaus Schulze: https://youtu.be/VA-Io4jVKbA
The Sonic XV is a surprisingly flexible multimode VCF - it can do the kind of aggressive, screaming resonance chaos that you'd expect from some of the famous diode filter-wielding synths of the past, but it's also particularly good at softer, delicate sounds, and having a well-featured wave folder on board gives it a much wider scope for tone-shaping. This, coupled with it's fast response, and simultaneous band pass, 6dB and 24dB low pass outputs, makes it a great choice for fast melodic sequences and percussion sounds. It's character is significantly different than that of the Minimoog-based Transistor Ladder Filter, and compliments it nicely, even if only used for it's wave folder to feed other VCF's. Sonic Wave Folder & Sequencer: https://youtu.be/pJUb-ZEddqQ
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
Patch notes:
--------------------
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
DH-ADSR: As we are using the inverted output here, it will constantly be sending a +8V signal to the LIN-CV of the VCO (therefore raising it's frequency/pitch) until it receives a gate signal, at which point it will follow the envelope settings, starting from an output of 0V. This is why the VCO will need re-tuning to match other instruments used, but preferably after you are happy with the amount of envelope to pitch influence you have dialled in.
Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control).
Sonic XV: Small differences in wave folder settings can make a big difference to the sound, so it'll probably require some fine-tweaking to get the ideal timbre. I have added some resonance in this version, as it can help to simulate the tone of a human voice, but this is of course subjective - all voices are different. Band pass is definitely the best filter type to use, as it can remove both high and low frequencies that would be beyond those produced by a human voice.
Modules used from left to right: DH-ADSR Envelope, Dual LFO + VCA, Vintage Transistor Core VCO, Sonic XV Diode Filter, Contour Generators, Discrete Cascaded VCA."
"This video demonstrates the Arturia Keystep Pro controlling a MiniMod system in polyphonic mode, and show's how to enable up to 4 voices of polyphony on the Keystep Pro controller keyboard. The MiniMod system uses just 4 VCO's, envelope generators, VCF's and VCA's to supply 4 simple, single-oscillator voices, which are then complimented by either an LFO or noise source to add interest to the sound. This really is about as spartan as you can get for a modular 4-voice setup, so adding further modules would greatly expand it's sound palette, but this is just a proof of concept. Since it's fully modular, even with such a simple voice structure a surprising range of sounds can be achieved.
This was partly inspired by the earliest polyphonic synths, which were initially huge modular systems controlled by polyphonic keyboard controllers, and then the first polyphonic Oberheim synths, which controlled 4 or 8 individual monophonic synth voice modules individually (the superb-sounding SEM), each needing to be setup and tuned. However, this meant that each voice was free to be whatever the user wanted - similar or completely different than the others, something conventional analogue polysynths can't do.
The Gemini 2412 is used here as it has extensive multi-mode filter options, and conveniently contains 2 fully-featured VCF's per module, but also since it is directly based on the filter from the classic SEM module. A pair of Contour Generators serves as a simple and convenient dual envelope per module, although here they are shared for both VCF and/or VCA. It's unlikely that many would buy a complete modular system purely to use as a polyphonic synth, but as your system grows it may eventually provide sufficient modules to be used in a poly configuration, even just as 2 voices, such as here: [posted here]
POWER: This module setup and PSU is just an example of the concept - it isn't necessary to arrange the modules in this way, and you should always ensure your power supply is sufficient to provide significantly more power to your selection of modules than is needed, across the +12V, -12V, and 5V power lines. For example, in this setup I'm using roughly 400mA on the -12V rail, but the PSU only provides 500mA to -12V, so this is pushing it a little too close to the limit than is ideal. Modulargrid.net is a great tool to use for designing your system and calculating your power needs, but also consult your PSU's documentation for advice on power usage.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
"On this channel Sunday 8th @7pm GMT - a 13-minute track recorded as a single-take performance, and a purpose-made tribute/dedication to the late Klaus Schulze. The piece is inspired by his music directly, creating some sounds akin to those he used in the late 1970's, even including one of his sequences. Much of it was composed and rehearsed, whilst some of it was improvised, but I suspect much less so than Schulze's works, which were often much longer, involving more improvisation and more instruments. This piece consists of just three voices across 4 audio tracks/channels, altered or converted in real-time during the performance to achieve different sounds.
As a creator of electronic music, Schulze was one of the most significant influences for me (the video creator). His music, his attitude towards it in the interviews I read of his, and the way he worked alone to create dense, fascinating, complete musical performances and soundscapes, at a time when the technology was in it's infancy, and before later technologies such as complex computer sequencing, sound creation, processing and mixing were available. As a solitary musician, his was a great, empowering example. His bravery to improvise, experiment, and co-exist with imperfections, embracing them rather than fearing them, makes me warm to the artist and the music even more.
Schulze used, among others, an early Minimoog (leads) and a large Moog modular system, which he customised with additional modules over the following years. Since the core AJH MiniMod system is directly based on the early, more desirable R.A.Moog version of the Minimoog, yet is entirely modular, it makes a great choice for this homage to one of electronic music's greatest pioneers.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
"This video shows how to use the MiniMod Vintage Transistor Core VCO in it's dedicated LFO mode, and how to use it in conjunction with other modules in order to extend it's CV/voltage range, or modulate it with another VCO to create unusual or experimental waveforms.
The MIniMod VCO is based on that from the original R.A.Moog version of the Minimoog, which itself used one of it's 2 VCO's as an LFO, so it's natural that the MiniMod oscillator would also feature and LFO mode to be used in a similar way. However, since it is fully modular, it's potential uses go far beyond that of a self-contained synthesizer, and so not only can it's frequency range be greatly extended, but also it can also be modulated itself, by other modules, even another identical VCO. Using the Sync function can reset it's waveforms to produce more complex, but still time-locked modulation, which can be very useful for modulating filters in more interesting ways.
"Not all Buffered Multiples are created equal: The V-SCALE by AJH Synth is a precision active buffer and multiple, which can be used to correct impedance mismatches between instruments, controllers and modules that can cause inaccurate tracking/scaling of pitch CV's, leading to out-of-tune VCO's and synths. It can also compensate for synths, VCO's and VCF's that will not track a 1V/Oct CV signal accurately, by way of 4 adjustable outputs, with fine-tuning trimmers allowing a 5% positive or negative alteration. Also, it will function as a highly accurate buffered multiple, and allow the use of further passive multiples after it in the CV signal chain, without risking a loss of signal strength, which would also lead to tuning or tracking inaccuracies. Unlike many buffered multiples, the V-Scale has a very high input impedance, and a very low output impedance, so it can make the various input and output combinations of different instruments play nicely together.
"This sound is inspired by lead sounds of the 70's/80's from Isao Tomita and Tangerine Dream (Remote Viewing), but will also be reminiscent of Kate Bush's 'All we ever wanted', and even Jeff Wayne's 'War of The Worlds' musical. It uses a filter/VCF in self-oscillation as a VCO, controlling it melodically, with envelopes and noise to help recreate the sounds. No VCO/oscillator is needed in the patch, and white or pink noise is optional, but necessary to get a Tomita-like whistle sound. Tomita originally used a Moog modular system for these sounds, so given that the AJH Synth MiniMod system and it's Transistor Ladder Filter are directly based on the early R.A.Moog version of the Minimoog, it's possible to get very close to such sounds. However, I've not tried to emulate it exactly, but you can see that the basis for this patch is very easily customisable, so it's a very useful synth patch to understand for a variety of musical applications. Patch sheet PDF can be downloaded here: https://kvisit.com/8AE/rv4G
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end, with notes below, to show you how to construct it for yourself.
Index: 00:00 Intro 00:29 Performance Example & Overview 02:22 Assembling the patch 03:14 Importance of envelope 03:42 Delayed LFO/Vibrato 05:25 Adding Glide 06:12 Adding Noise 06:56 Mod wheel control of LFO 07:36 Noise as Filter Mod source 08:16 Patch Diagram
Patch Notes: Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. This is based on the version in the video with noise mixed in as audio, and glide applied to the keyboard CV. For variations without noise or glide, and usage with a mod controller, see the appropriate part of the video (check Index). Only a couple of connections need to be changed for these purposes. V-Scale: Used here as a simple multiple, but since it's handling Gate signals any passive multiple could be used. DH-ADSR: Another Contour Generators could be used instead, but the advantage with the DH-ADSR is independent control of both Decay and Release, meaning greater control. It serves as a great companion to the Contour Generators for this reason. Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control). Ladder Filter: The Gemini 2412 would also work well here, it's tracking in self-oscillation is actually better overall. It would just need to have high resonance/self-oscillation enabled by the rear jumpers (see online manual or video user guide). The Ladder Filter struggles to track at lower frequencies, this is an authentic characteristic of the original Minimoog filter, but it's fine for the pitch/note ranges used in this video. The Sonic XV will also self-oscillate, but it's ability to track 1V/Oct is not as tight as the Gemini. Modules used from left to right: Glide + Noise (Mk I or Mk II), V-Scale, DH-ADSR Envelope, Dual LFO + VCA, Contour Generators, Transistor Ladder Filter, Discrete Cascaded VCA."
"This video shows how to return your V-Scale's trimmers back to 'factory default' settings - basically, so that all adjustable outputs are back in their central, accurate 1V/Oct positions. If you've previously adjusted any of the outputs to compensate for another module not tracking accurately, or if you acquired the module from someone else and it's already been adjusted, then it's likely that at some point you'll want to use the module simply as a buffered multiple, for distributing accurate 1V/Oct CV signals to VCO's or other modules. The video shows 2 easy ways of doing this. For musical use it might not always be needed or desired to have VCO's close to perfectly tuned, but the more time spent on adjusting the closer it is possible to get, it really depends on preference. However, tracking across a range of octaves is generally not something that can be compromised too much, and the V-Scale is a purpose-made tool for combatting this problem.
There'll be a full user guide video showing what this module can do very soon, but in the meantime, check out the following video for an example:" [posted here]
"A 2-voice ambient performance using the Doepfer ribbon controller with the AJH Synth MiniMod eurorack modular system, here incorporating the Gemini 2412 'SEM-based' dual multimode filter/VCF. Simple 2 note/2 VCO chords are shifted in pitch with the Ribbon, and pressure sensitivity used to control the Gemini's overall frequency, and the level of pitch vibrato from the Dual LFO module, which has a built-in VCA. A third VCO via the Transistor Ladder Filter creates a single oscillator drone sound (a square wave with pulse width modulation/PWM), whilst the Dual LFO also modulates the frequency of this VCF, and both VCF's on the Gemini in position to each other. The Gemini is used as a stereo filter, with both going of it's VCF's going to separate VCA's and audio channels to creates a stereo panning effect.
The Gemini can be used as 2 filters in series, or in stereo with a single audio input signal, but here both filters are processing a different VCO via their individual inputs, whilst the global Dual Frequency CV function of the module's central mix bus section allows them both to be controlled in unison, in addition to, or instead of their own individual CV control. This offers a huge amount of flexibility.
A suitably large reverb is added in post to add a film/movie soundtrack quality to the sound.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
"The last of 2 videos showing some ways to add more flexibility and sonic power to the Moog Mother 32 using AJH SYNTH modules. The synth is semi-modular and designed with Eurorack compatibility in mind, so this unlocks the huge range of modules in the Eurorack modular ecosystem. Since the Mother 32 has that trademark Moog sound, the AJH Synth MiniMod range sit particularly well with it's vintage analogue synth lineage. The individual elements of the standard MiniMod voice are in fact based directly on the original R.A.Moog version of the Minimoog.
This video shows another example of adding multiple external VCO's to create a big, dense tone with multiple octaves, and also with 2 of the oscillators offset at different pitch intervals to create chords, just as was possible on the original Minimoog synthesizer.
Also shown is an example of using an external filter, in this case the powerful GEMINI 2412 dual multi-mode VCF, which is simply a case of running internal and/or external oscillators and sound sources into the filter, then back into the Ext Audio input, setting the Mother 32's internal ladder filter to maximum frequency (fully open), and reducing resonance to zero. Of course there's no reason why this filter cannot also be used as part of a patch, although the Gemini's two filters can also be run into each other internally (Cascade = in series) in the same way.
Finally an example of vocal timbres/formant sounds, which can be achieved by many methods, but here using the wave folder featured on the SONIC XV diode ladder filter, and the FIXED FILTER BANK 914, which really is a go-to tool for tone shaping, allowing the output of 14 individual filters (1 low pass, 12 band pass, 1 high pass), each fixed at a specific frequency, to be mixed together at individual levels in order to dial in a desired tone.
"A repost of a video by Daniele Chierichetti demonstrating lead sounds and showing some of the sonic possibilities of an AJH Synth Eurorack modular synth system. The standard MiniMod voice forms the basis of the system featured here, and this voice is directly based on the original R.A.Moog version of the Minimoog, and as such it is capable of the same classic lead sounds, the same warmth, punch, and character. However, because it is modular, it takes this voice way beyond anything it was originally capable of, opening it up to the now huge Eurorack universe, including a wealth of modules by AJH Synth.
These high-end modules are mostly based on classic vintage designs, some of which are very difficult to obtain nowadays, but brought firmly into the modern Eurorack era by a wealth of connectivity, functionality, and reliability, that simply didn't exist 'back in the day'. Also, some modern, digital modulation modules compliment the range, hugely expanding it's sonic scope."
