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In patreon you will find content about my background , technical information. / hagiwo"
Google translated:
background The 78th work of my own modular synth. One of Eurorack's standard modules is MATHS. One of the uses of MATHS is Envelope follower, but this Envelope follower is difficult to use properly. I have created an Envelope follower in the past. This time, I decided to create a compressor as one of the application examples of Envelope follower.
Opto compressor Compressors include VCA and FET as means of compressing audio, but there is also a type called opto compressor that uses Vactrol (analog photocoupler). Although the responsiveness is poor, we decided to create an opto compressor this time because it can be created inexpensively with few parts.
Product specifications Eurorack standard 3U 6HP size Power supply: 20mA (+12V), 20mA (-12V)
opto compressor using Vactrol LCR-0203. The idea is to use it to increase the sound pressure by compressing the entire MIXed audio, or to change the impression of the sound by compressing a single percussion sound such as KICK.
THRESHOLD: Adjustment of the level at which compression starts. RATIO: Attenuation rate adjustment. By increasing RATIO, it is possible to compress at a magnification of 1x or less. In other words, the louder the input audio, the lower the output can be. RELEASE: Adjust the RELEASE TIME of the built-in Envelope follower. VOLUME: Audio out amplification. Lowering the THRESHOLD lowers the overall volume, so the VOLUME POT compensates for the volume drop. LED: The more compresson is applied, the brighter the light will light up. Also used for calibration. IN: Audio input. It is assumed to be used at Vpp=10V (-5V~+5V). OUT: Audio out
Production cost Total about $9 --------------------------------- LCR-0203 $1 Front panel $1 Envelope follower module $2 Variable resistance $0.3*4pcs Others (see link below for general purpose parts)
"Fully functional Korg Delta, fun and easy to use synth that nails many classic sounds. Recently serviced and calibrated. The power transformer has been swapped from 100V (Japan) to a 120VAC unit for normal North America operation. Power supply fully recapped, noise free unit with lots of vibe! Works and sounds like it should. No issues.
Korg's Delta is an analog semi-poly synth/string machine, basically a slimmed down version of the Korg. Though limited in the range of sounds compared with other synths of the same genre, the sheer quality of the sound from this little beastie really does make it something of a marvel. Amazing retro synth strings and fat bass synth tones.
The synth is split into two sections, Strings and Synth, for which there are separate audio outputs along with a combined output for headphones or mixing. Each section has its own controls. The String section has two pitch sliders (16' and 8') along with two tone controls (Bass and Treble) and variable Attack and Release controls to modify the sound. The Synth section has four pitch sliders (16', 8', 4' and 2'). There is also a white noise generator along with a very effective 24dB/oct low pass filter (high pass and band pass options are included too) and full ADSR controls. The synth has no memory storage or MIDI, however it does has voltage control and gate ins and outs.
The string sounds are very basic but with its separate outputs and when mixed together with the polysynth you do get that classic 'layered' sound which is useful enough on this synth; and it's fully polyphonic, so you wont be running out of notes! There is a handy joystick to the left of the 49-note keyboard for pitch bending and modulation capabilities. The construction is solid and heavy partly due to the implementation of a wooden base but also because it was designed for heavy usage on the road. Added bonuses: noise modulation, stereo out (strings/synth split), and the ability to combine synth and strings or turn off oscillators in the mixer section."
"The Moog Sonic Six is a 2-VCO duophonic synthesizer with a built-in speaker and a 4-octave, 49-note (C-C) keyboard. Each VCO can output sawtooth, triangle, and rectangle (pulse/square) waveforms as well as 2 "waveform generators." A "quality" knob adjusts the width of the rectangular waveform. White or pink noise is also available. The Sonic Six can be set for 3 keyboard modes; high note priority, low note priority, or duophonic. The Sonic Six can also be set to an alternate tuning across the keyboard (different interval between octaves of the keyboard). Portamento rate is controlled by a knob. The envelope section features a basic envelope, with variable control for attack and decay and a switchable release (follows decay) and sustain. It had a single VCF, low-pass voltage controlled filter. Two multimode LFOs are available. Their speed is independently variable and can be controlled by the envelope."
"This is a wine country “perfect prophet” which has been recently serviced having its pots and switches cleaned and lubricated. It has the gligli modification with the Imogen 2022 code. The brief video demonstrates power up, key triggering and sound sounds.
Introducing the Sequential Circuits Prophet 600, a classic vintage analog synthesizer that has been fully serviced and is in great working condition. This keyboard synthesizer features 61 synth keys, with CV In, MIDI (DIN) In, and MIDI (DIN) Out input/output ports for easy connectivity. The Prophet 600 is a top-of-the-line model from Sequential Circuits, with a range of features including a pitch wheel, modulation wheel, and arpeggiator.
Ideal for both beginners and professional musicians, this Sequential Prophet 600 is a must-have for anyone looking for a high-quality analog synthesizer. Its stylish design and reliable performance make it perfect for use in any musical setting. So go ahead and create your masterpiece with the help of this amazing synthesizer today!"
"Relatively uncommon but a fantastic sounding analogue synth capable of some extremely rich sounds when compared to modern digital offerings.
This unit is completely restored and fully operational.
This unit has seen the following service:
Completely refurbished keybed All button contacts (Keybed and front panel buttons) have been refurbished ALL electrolytic caps replaced including those on the audio board. New memory battery installed New voltage regulators installed New led matrix chips installed Full factory sysex installation with original factory sounds restored. Fully tested and working great! The Split-8 makes for a very nice programmable polyphonic analog synthesizer with complete MIDI implementation. With 8 voices and 8 oscillators (Curtis 3394 SENTE chips) the Split-8 is a heavy contender against the Roland Juno-106.
The keyboard features splits and layers, all of which can be saved with patch data. Choose between 8 voice polyphony with 1 oscillator per voice, 4 voice polyphony with dual oscillators per voice, 2 voice polyphony with a mega 4 oscillators per voice, or the unison mode which is just a fat 8-voice solo mode for trance bass and lead heaven! Similar to the Juno-106, the Split-8 uses a Chorus effect to liven up the sounds.
Split-8 features:
One voltage-controlled oscillator (VCO) for each of the eight voices. Switches are used to set any combination of triangular, sawtooth and square wave. Pulse width modulation (PWM) is available. For each voice, the coarse tuning is available within four octaves as well as the fine tuning. Programmable "poly mod" allows the audio output of one voice to feed another's VCF. In this case, the polyphony is reduced to four voices. The voltage-controlled low-pass filter (LP VCF) has a four-stage structure with a slope of 24 dB per octave. Cutoff, resonance and modulation depth adjustments are available. A keyboard tracking mode is also provided (higher notes have a higher cutoff frequency). The low-frequency oscillator (LFO) produces a triangular or rectangular waveform in the range from 0.25 to 20 Hz. It can be used to modulate the cutoff frequency of VCF, the pitch of the VCO and the pulse-width modulation. ADSR envelope generators for VCF and VCA. Keyboard "split" and "layer" functions are available. Programmable chorus effect. Full MIDI support, including downloading presets via the sysex protocol."
"The SIMMONS SDS1 Drum Synthesizer, a versatile musical instrument that brings your drumming skills to the next level. 6.35mm (1/4\") TRS/TS Out output port to connect and play your favorite beats. This analog drum synthesizer is perfect for those who love to jam and create music, whether you're in the studio or on the go. The SDS1 also comes with a battery power feature, making it convenient to use anywhere and anytime. As a drum pad, this is the vintage electronic drum sound. Get your hands on the SIMMONS SDS1 Drum Synthesizer today and experience the power of analog sound.
Original Owner Set of Two Drums (as pictured) Fully Functional (I run on AA batteries) Big Vintage Synth Drum Sounds Both Tunable and Polarity Adjustable from Very Deep to Bright Two Different Tom Tom Chips Uses EPROM Sample Chips"
"Dynacord CLS 222 ~ Rotor Effect ~ Super Stereo Leslie Expressive Osmose Haken Audio ContinuuMini 2x Strymon Cloudburst ~ Midi CC by AtoVproject Faderbank! Line 6 DL 4 MK2 MACKIE the Mixer The 'CLS 22' model was built from 1982 to 1988 and uses an exclusively analog signal. According to the manufacturer's official product brochure, Dynacord began developing the effect in the 1970s with the aim of imitating the sound of the mechanical rotor cabinet fully electronically and without wear. To do this, the manufacturer splits the input signal into a high-frequency and a low-frequency signal using an electronic crossover. Since the start-up and stop times of the two channels varied in a targeted manner, the rotor sound could be copied electronically. You could choose between fast speed (“Fast”), slow rotor sound (“Slow”) and untouched signal (“Stop”). In addition, the input level of the preamplifier, rotor balance, and output level of the signals could be adjusted between monophonic or stereophonic. On the back there is a power plug, jack sockets, XLR outputs, fine adjustments for the rotor speed and a footswitch input.
In 1989, a revised version of the device was released under the name “CLS 222”. This effect device supposedly now also uses a digital signal for signal processing, in contrast to the pioneer. However, according to the circuit diagrams in the service manuals, both the CLS 22 and the CLS 222 use purely analog circuits, including BBD chips (so-called “bucket chain memory”) for the signal delay. According to the manufacturer, the CLS 222 model could still be used for electric guitars, microphones and PA systems without any problems, although the previous model was designed more for keyboards British rock musician Eric Clapton used a white “Dynacord CLS 222” from 1989 to 1996 as part of his Soldano/Cornish guitar routing system. The effects device came into the system for the B part of the Cream song Badge. On the original recording, Clapton recorded the part with an original Leslie speaker, but used the Dynacord as a replacement for the performances during the Journeyman World Tour and world tour in 1992.
The guitarist David Gilmour of the rock band Pink Floyd also used a “Dynacord CLS 222” in his guitar and effects device system, which, like Clapton, was also developed by the British electrical engineer Pete Cornish.
The guitarist The Edge of the Irish band U2 also used the “CLS 22” effects device. The French music producer and disc jockey Joakim Bouaziz uses a “Dynacord Leslie simulator CLS 222” in his New York Crowdspacer Studio.
"This episode demonstrates using the "sync out" clock to drive the timing for a modular eurorack system, the Behringer System 55, including 960 sequencer. It includes details of configuring the Electribe 2 clock and sync output.
TIMECODE
0:00 - Series Intro
0:32 - Overview
1:18 - Demo Sync with Behringer System 55
3:08 - Required Parameter Settings
5:33 - Sync Unit Parameter Demo"
"Eowave Ricochet is one fun module! Dynamic Trigs, quad-VCA with individual and sum outputs, quad decay envelope that can be "Linked" triggered at the end of the previous cycle, summed and cross-modulated.
This module is perfect for intricate percussive patterns. Add your favorite VCO and/or noise source, or use the built-in noise generator to get rolling rhythm, tight burst fills, and much much more.
The Ricochet can be expanded using the included jumper cable for twice the excitement.
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"The module's design is inspired by the way skipping stones bounce on the water, creating a versatile tool for crafting percussive sounds.
The exponential envelopes are specifically designed to generate dynamic percussive tones. The unique linking function connects the end of one envelope's decay to the trigger of the next, enabling the subsequent envelope to activate once the previous one ends. This innovative feature allows you to create ratcheted envelope.
A front-panel trimmer lets you adjust the threshold for triggering subsequent envelopes, while a rear header enables connecting two Ricochet modules together ,or linking the last envelope to the first.This feature transform the Ricochet to a weird sequencer where the steps length depend of the decay times.
Since Ricochet is fully analogic, trig inputs are velocity-sensitive, responding to a standard gates but also allowing attenuation to modify the envelope's velocity (you can play with the dynamic of your sound by attenuating the trigg input. Ricochet is also perfect to play with drum pads).
Each VCA features a gain control that can be pushed to achieve subtle saturation.
All envelopes and VCAs have separate outputs, but there are also mixed audio and envelope outputs. When an individual output is connected, it is removed from the mix. The decay modulation inputs are normalized between each other.
Last but not least, an analog noise generator is normalised to the first input, so you can use ricochet on it's own to create hi hat kind of sounds
MAIN FEATURES : - Fully analog design so everything is responsive to the amplitude - Unique linked envelopes feature - Compact 4 envelopes 4 VCAs module - Linkable to a second ricochet or looping back the last enveloppe to the first one
SOME APPLICATIONS : - Envelope generator - Drum shaper - Hi-hat - Clap envelope shaper( with short ratcheted envelopes) - Envelope sequencer - Trigg delay - Burst generator
TECHNICAL DETAILS: - Fully Analog design - 14hp - Skiff friendly - Reverse power protection"
"Time to dive deep into Cunsa's main features! In this first tutorial, we will explore how a single filter works and how to combine them together to get the signature "Cunsa sound." This should get you started with CUNSA and let you understand its basic functioning. In the next episodes, we will see more specific applications!
00:00 Intro & Cunsa overview 02:21 The 12 dB/oct lowpass filter 02:41 The Q parameter (resonance, emphasis) 03:42 How the Q affects the LPF cutoff point at 12 dB/oct 04:15 The Character parameter 05:15 Combining Q and Character 05:55 The 24 dB/oct lowpass filter 06:10 The Character behavior on the oscilloscope (12/24 dB/oct LPF) 08:00 How the Q affects the LPF cutoff point at 24 dB/oct 08:15 A comparison of the 12 and 24 lowpass curves with different Q settings 08:52 The 12 dB/oct bandpass and highpass filters 10:09 How Q and Character affect the bandpass and highpass curves 10:23 The Behavior switch (filter and combo mode) 11:50 CV inputs for cutoff, Q, and Character 12:31 Using CUNSA as an oscillator (self-resonating filters) 13:13 Oscilloscope views of the self-oscillating filters 13:37 Fine-tune cutoff frequency knob 13:46 BONUS TIP: double TZFM oscillator with Cunsa and Brenso 14:12 The Ping circuit: nonlinear integration 15:40 Ping circuit and combo mode 16:10 Ping v/s ring, a brief recap 17:03 Semi-normalled connections 17:19 The mixed outputs 18:19 The routing switches: complex filtering with four filters in parallel 19:45 Some examples of semi-normalled patching techniques 22:13 The Dry output and other complex patching examples 25:50 Outro"
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video upload by ohm_studi_ohm
"This is quite a rare tape echo manufactured by Dynacord. It seems to be one of the very last tape echo introduced by the brand (with the Echolette Echo 400).
It shares many parts with the Echocord line of delays like motor, pinch roller, heads, oscillator board etc
But this one useS op amps instead of only transistors for amp stages (the Echocord Super 76 also already used one op amp for the output stage).
The unit has 2 heads which you can mix with the dedicated pot. Otherwise classic features like input volume, tone, echo send level, echo feedback and echo level.
In the back the original DIN socket enabled output and aux input. In this case you only get the wet signal out of the delay, which is nice in a studio environment.
Unit was fully serviced and modded. [mods below]
I demoed it with 3 different instruments so you get a good idea of how it sounds with different sources. First is a Roland MC-202, analog mono synth, then an analog drum machine (Roland CR-78) and last an electric guitar (Squier Jagmaster, not in frame). Please note the SE-251 has no hi input impedance so I run the guitar through a DI Box first.
00:00 ROLAND MC202
03:18 ROLAND CR78
06:16 SQUIER JAGMASTER"
- all electrolityc caps were replaced (except 3 bipolar ones )
- original 4x op amps were upgraded to better one (TL081)
- original DIN socket was replaced by 2 jack sockets, one for the output and one for the aux input. Also a pot was added to attenuate the level for the aux input
"Did you know that almost all Elektron devices* are USB class compliant? That means you can easily send audio out from your Elektron drum machine or synth directly to your Apple iOS or OS device and record proper line-level audio. This is great for quickly capturing that beat you've been working on and sharing it with friends or for posting on social media like a pro. In this video we look at how easy it is to plug and record audio to your Apple device with no additional drivers, app or software required! It's also possible to send any incoming audio from external sources routed through to your Elektron box, out to USB as well. In this video we jam the Elektron Syntakt together with a vintage Roland TR-606. The TR-606 audio is running into the external input of the Syntakt and all the sounds from both devices are being routed directly via USB audio into an iPhone.
Elektron firmware provides options for choosing what audio source output you want to route to your iOS device. The default setting will send the main stereo outs, whereby the mix of all your tracks inside your Elektron box is sent out via USB. Alternatively, there are options to choose a specific track out via USB; perhaps you just want to send your sick bass line without the kick drum — yes you can! The Analog Heat+FX also has the option to process incoming audio from USB, offering a two-way audio solution that has many creative applications. Your iPhone or iPad microphone might be good at recording your voice, but they're not great at capturing and representing your latest beat creation.
"A harsh and funky take of an additive Oscillator.
Pile up multiplications of your frequency to get a lo-fi-retro wall of squared sound!
You get six doubled frequency pulses, or octaves, with common PWM and volume control for each of them.
The output of each is cascaded to the next one, so you can either have one output with all frequencies or break the chain and get several sums and modulate each independently!"
"Here we have what Befaco say is "a harsh and funky take on an additive oscillator" as it has individual harmonics or partials and VCAs to modulate them. However the idea of harmonics here is replaced with 6 octaves of square waves. It's an analog design with a triangle core oscillator that through frequency doublers give 6 octaves to work with, each turned into squares that respond to PWM. An onboard mixer allows for blending these squares, you can break out into new tones with self patching, or make multi-layered wide frequency spanning voices from the individual outs."
*TIMING INDEX // CHAPTERS* 00:00 Hello & patch previews 01:10 Feature run down 02:44 Raw sound demo 03:43 Polymetric percussive octave riffs! (my favourite thing) 06:05 Self patched additive synth style sounds 08:13 Huge stereo drones 10:11 PWM at audiorate - tearing additive octaves 11:51 Exploring sync tones + upper octave overtones 13:42 Sub octaves, not just higher octaves 16:01 Noisy FM percussion 18:09 Randomised additives - modulating octave blends per note 19:24 Alarms, pacman & phone chirps - Octaves VCO as a modulator
"This series is about getting creative within the confinement of the 7U case with black and gold modules which are available in retail. The goal is to build something like the original Shared System B&G where the collection and order of modules deliver a logical and intuitive synthesizer ecosystem.
The heart and soul of the original Shared is the DPO, which is a dual complex VCO, inspired by the Buchla 259 from the '70's. There's 'two five nine was here' printed on the circuitboard. While the DPO is still available, it's only available in silver, and it may not be restocked in the EU because it has a vactrol to strike the wavefolder. Without speculating too much, DPO will either leave the stage, or return as a 'green' revision borrowing a DXG strike. Who knows.
Even though I love Spectraphon, which also has a '259 inspired' design, it doesn't sound like an analog DPO. It doesn't have the raw sound of fresh timber. I've been experimenting with dual XPO's for a while now (there's a link to my XPO vs DPO video) and I've 'discovered' that adding a moddemix as a bus really approximates it, but can also go beyond any complex VCO I've heard. The output count is outrageous, and having the 'FM/MOD bus' on the outside brings you very close to a Serge design. It takes a bit more patching, but it also delivers tons of fun.
I am aware this series is a bit like a buying guide mixed with a MakeNoise ad but I am not affiliated with MakeNoise except that I am a groupie. I make fan films. We all have our favorites and MN was my entry into modular. I am totally biased. But these layouts also work with other brands and they're shared for inspiration. It's not the brand, not the modules, it's the roles, order and interaction of modules that turn a patch blanket into an ecoystem."
"Join us as we embark on a sonic journey with Replay, a new polyphonic synthesizer and multi-mode arpeggiator from Vongon. First up we test its prowess in the realm of synthwave - spoiler alert: it excels! In the latter half, we delve into the interface and its versatile capabilities complete with an immersive sound exploration, unleashing the arpeggiator and tweaking various parameters for a mesmerizing experience. Video and music production crafted by DeadMidi.
"Replay is a six-voice polyphonic synthesiser and a little window into synth heaven.
Lush pads, tiny plinks, snappy arpeggios, warbling melodies, resonant filters with midi connectivity and a sleek web interface!"
Vongon Replay Virtual Analog Synth | Overview + Exploration
"A demo and walkthrough of the new polysynth Replay, by Vongon. Replay is a 6-voice polyphonic synthesizer with a compact form factor that takes inspiration from classic poly synths from the 1980s, like the Roland Juno series + the Korg Polysix.
This video includes an overview of what Replay is and how it works, along with a number of sound examples demonstrating Replay on its own and in combination with FX pedals, to create a wide range of sounds from classic synth leads, pads, and arpeggios to more experimental textures and noisy sound worlds."
TIMESTAMPS:
00:00 Intro
02:45 Replay Overview & Tour
17:03 Musical Demo
19:09 Filter Experiments on Replay
23:50 Exploring the Arpeggiator
28:00 Combining Replay with FX
"Today we take the beautiful Replay by Vongon out for a spin and also have a conversation about synthesis basics in honor of my five year synth-a-versary. Vongon really hit it out of the park with this instrument and--whether it's your first synth or your 10th-- there's a lot here to love."
VONGON REPLAY Polyphonic Synth & Arpeggiator | Can I write a synth-pop track with it?!
"Man, I just love gear that makes you approach writing differently. That reminds you how fun it can be to find new sounds and feels, explore new ways of composing. And today, the new Vongon Electronics REPLAY is doing that for me - a super fun, approachable, compact polyphonic synth and arpeggiator."
"The Replay is the first synthesizer offering from boutique pedal designers Vongon, offering a six-voice virtual analog sound engine with multi-mode arpeggiator. Inspired by beloved keyboard synths of the early 80s like the Roland Juno and Korg Polysix, the Replay faithfully delivers warm and lush vintage timbres in a compact package that drips with modern aesthetics and utility. In Replay, Vongon has struck an impressive balance between scope of features, user experience, and overall sound quality. The result is an instrument that sounds wonderfully rich and nostalgia-laden, with an interface that is easy to understand - perfectly approachable for a beginning synthesist, yet deep enough to inspire veteran wigglers to explore the edges of its capabilities.
Replay's front panel is incredibly straightforward, with simple controls for its primary functions conveniently accessible. Additional options are selected via the "secret menu" alt functions. At the heart of Replay's sound engine are multiple selectable waveforms for its primary oscillator, with ramp, square, triangle, and sine modes. Noise amount, pulse width modulation, and LFO pitch modulation offer further timbral manipulations before passing to the four-pole, low-pass filter. Highly resonant and warm, the filter includes modulation depth controls from the primary envelope, keyboard tracking, and the LFO. The VCA features options for maximum amplitude and modulation source. An organic and responsive ADSR envelope and the on-board LFO round out this straightforward voice, with flexible modulation routing options between the main controls and alt functions.
The multimode arpeggiator on the Replay opens up a variety of fun and engaging options for controlling the synthesizer voice. Latch and keyed modes, in addition to the three poly modes available on the alt functions, offer a variety of ways for creating snappy and spiraling arpeggios and fuzzy, morphing pads. Up/Down, order, and random modes provide further ways to organize pitch material. The alt functions allow the LFO to be clocked by the ARP speed, creating rhythmically modulated phrases that are a joy to get lost in.
All in all, the Vongon Replay delivers a premium virtual analog experience that feels streamlined and purpose-built for getting beautiful analog sounds quickly. With plenty of depth in sound color and just the right amount of tricks up its sleeve to keep you immersed in music making rather than menu diving, the Replay is sure to become a go-to instrument for lush pads and other classic synth timbres. Its physical design is beautifully simple, and the responsive feel of its Cherry MX keys invite playful interaction that is hard to put down. Of course, the Replay is a lovely source for running through Vongon pedals, creating an instant synthwave or soundtrack machine paired with an Ultrasheer or Polyphrase. If you're needing a straightforward synth with limitless sonic charm, the Vongon Replay is a wonderful choice.
"One-of-a-kind drum machine. It"s a rhythm unit ripped from a 70s Farfisa spinet organ and built in a custom case (trying to remain faithful to the original look). Classic analog drum sounds like the ones you get out of the many boxes of that area (Roland TR77, Ace Tone FR-1 FR-2 FR-8, Hammond Auto Vari etc etc) It is very close in to the Farfisa Rhythm 10 unit that Kraftwerk used at its beginning.
10 rhythms that can be combined to get some more, controls for tempo and volume. Mono jack output, on/off switch and running on 12v-18v DC (power supply is provided). Case is DIY so don't expect manufacture quality. YSWYG."
The Corsynth drum collection for MU format modular sounds nothing short of massive! Especially when all drums are patched into the Moog-Style C111 mixer. Feed the mix back into itself and quickly witness the clean analog saturation get completely destroyed (in a harmonically satisfying kind of way)
The Corsynth drum modules are available now at Noisebug.
The DR-01 Bass Drum is the first of a new series of Corsynth modules dedicated to analog drum synthesis and it’s also the first module of this kind commercially available in MU format. Create a drum sounds from scratch using a modular synthesizer is always time and resourcing consuming. With the DR-01 you will save a lot of space, money and modules that can be used for other purposes. The DR-01 has all you need to create bass drums , toms a many other percussive sounds in just one single space. And thanks to the Tune CV input is even possible to use the DR-01 to create bass lines. Punchy techno drums, industrial drums, drum sounds of the firsts analog drum machines, FM sounds... With the DR-01 is really easy to get the sounds that you need at every moment. All the parameters in the module have been carefully chosen to be used in a drum synthesis context (envelope times, oscillator frequencies, oscillator waveform etc ). These are the DR-01 Bass Drum main features: * A voltage controlled oscillator with dedicated CV input for tuning. * A voltage controlled timbre circuit. * A dedicated tune modulation envelope. * An amplitude envelope with three different settings for the attack time. It’s time to add drum sounds to your synth sequences! .
The DR-02 Snare Drum is the second module in the DR series dedicated to analog drum synthesis. This module is designed to synthesize electronic snare drum sounds of any kind. From the classic preset drum machines from the 70s to TR-XXX, electro snares, zaps... But thanks to its 12 knobs and 3 CV inputs the DR-02 Snare Drum can synthesize much more than snare drums, sounds like hit-hats, toms, cymbals , congas, FXs are also possible and even it can be used as an oscillator. The DR-02 is composed for two different sections , Head and Snare each of them with its own volume control. The Head section has two voltage controlled oscillators with a fixed frequency interval between them. One modulation envelope to modulate the oscillators tuning and one VCA with an AD envelope to control de decay of the snare head. The Snare section is composed by a noise generator , two voltage controlled filters connected in series ( one 12db resonant high pass filter and one 6db non- resonant low pass filter). One envelope to modulate the high pass filter cutoff frequency and one VCA with an AD envelope to control de decay of the snare.
The DR-03 Hi-Hats / Metal is the third module in the DR series dedicated to analog drum synthesis. It is designed to synthesize Hi-Hats and metal percussion like cowbells or cymbals and even FX. Three different voices are available at the same time Closed Hi-hat, Open Hi-hat and Metal plus a Hi-Hat mixed output .
Hi-Hats To synthesize a Hi-Hat there is a key element that defines the final result, the primary sound used to create it. The DR-03 has three possible sound sources , a white noise generator, a mix of six square wave oscillators and a mix of ring modulated square wave oscillators. These three sound sources, together with the VC Band Pass filter and the Low Pass Filter allow the DR-03 to create a wide range of hi-hat sounds. Another interesting feature is that the Open Hi-hat decay time is voltage controlled and it can be triggered independently or conditioned to the Closed Hi-hat. Metal The Metal sound is created using two ring modulated square wave oscillators and a VC Band Pass Filter. The frequency of one oscillator can be manually controlled and the other one has a fixed frequency. The variable oscillator can modulate the cutoff of the BPF to create metallic FM sounds.
"This synth takes its internals and body work from the better known Split-8 synth from Sequential Circuits.
This electronic keyboard is an 8 voice polyphonic, bi-timbral analog synth with the ability to split or layer two oscillators.
One of the most notable oddities with the Pro 8 is that you can filter FM one patch with the output of another when stacked in double - this creates some very unusual and unique sounds.
The Pro-8 makes for a very nice programmable polyphonic analog synthesizer with complete MIDI implementation. With 8 voices and 8 oscillators (Curtis 3394 SENTE chips) the Pro-8 is a heavy contender against the Roland Juno-106! However programming the synth, while straightforward and intuitive, is limited to adjusting one parameter at a time assigned to one Data knob. This limits performance ability but is no problem during studio use.
The keyboard features splits and layers, all of which can be saved with patch data. Choose between 8 voice polyphony with 1 oscillator per voice, 4 voice polyphony with dual oscillators per voice, 2 voice polyphony with a mega 4 oscillators per voice, or the unison mode which is just a fat 8-voice solo mode for trance bass and lead heaven! Similar to the Juno-106, the Pro-8 uses a Chorus effect to liven up the sounds. Sonically the Pro-8 sounds much 'thinner' than a Roland Juno-106, however, this 'thin' sound is characteristic of Sequential and is quite nice. The wooden side panels definitely give the Pro-8 that vintage flare!"
