MFB Analog Drum Synth Modules

via this auction

Note this one is from NoiseBug.

"the drum-01 revives the kick- and snare sounds of the legendary seventies drum-machines mfb-301/302 as well as the model mfb-501. their unique sound is based on digital c-mos gates that produce less distortion than conventional opamp’s and therefore sound softer. bass- and snare can be triggered thru individual inputs. however, triggering does not need to take place with conventional analogue or digital signals only. you may as well use drum-pads or piezo- and dynamic microphones. separate sensitivity controls adjust the input gain. dynamic triggering will not only affect the volume but also attack and decay parameters.

drum-01 offers the following functions:
kick: attack produces a short impulse sound that is mixed with the kick drum signal to enhance its percussive character. decay defines the length of the kick – a parameter that was only adjustable inside the mfb-501.
snare: tune controls the tonal part of the snare sound while noise controls the atonal part. decay defines the length of the noise part after triggering.
noise out: this separate jack outputs the unfiltered signal of the digital noise generator. use it in combination with other modules to create hi-hats, claps or cymbals.

the module has a width of 40 mm (8 te).

delivering five different analogue generated percussion sounds, drum-02 is the best possible addition to mfb’s drum-01 bass- and snare-drum module. the sounds are tom, low bongo, hi bongo, low clave and hi clave. the sounds are vastly taken from the mfb-501 and offer individual decay controls.

accordingly to drum-01 module, drum-02 uses c-mos gates for a unique sound that is softer and less distorted than typical opamp’s circuit layouts. the c-mos gate are combined to work as a bandpass-filter with adjustable resonance. triggering of all five inputs can take place by digital and analogue signals. individual controls for input sensitivity also allow usage of drum-pads, piezo- and dynamic microphones. dynamic triggering will not only affect the volume but also its attack and decay level.

the matching step-sequencer for drum-01 and drum-02 will be forthcoming seq-1 module that will allow 12 trigger-tracks with individual outputs and accent function.

remark: the sounds h1 and h2 of mfb-501 have been renamed to low clave and hi clave in drum-02. tom and the two bongo instruments can also be used as three toms tuned differently. the module has a width of 60 mm (12 te).

the drum-03 module revives the cymbal, closed- and open hihat sounds that were originally found in mfb’s drum-machines mfb-301/302 and later on in model mfb-501. drum-03 complements drum-01 and drum-02 modules to a complete mfb old-school beatbox drum-set.

just like the other mfb drum modules, drum-03 has that specific mfb-sound that derives from analogue sounding digital c-mos gates. these units work with less distortion compared to typical op-amps and therefore sound softer. hihat and cymbal accept different trigger signals at their inputs. these don’t necessarily need to be analogue or digital trigger signals of a step-sequencer but can also derive from drum pads, piezo- or dynamic microphones. the two sens-controls will individually adjust the input sensitivity. dynamic triggering will not only affect the volume of the sound but slightly also attack and decay parameters.

drum-03 offers the following functions:
hihat: the sound source for the hihat is a digital noise generator that is sent into a bandpass filter. two parameters quality and filter offers different sound variations. decay controls the duration of the open hihat sound and also affects the closed hihat’s decay slightly. cymbal: the cymbal sound uses the same combination of digital noise generator and bandpass filer as the hihat section. here, only the bandpass frequency can be altered. decay sets the decay time of the cymbal with a range that is almost equal to the open hihat section. accordingly, the cymbal can also be used as a second hihat sound. with a shorter decay time it may complement the groove as a half open hihat.

the module has a width of 40 mm (8 te).

this item is a 'lightly used demo model.'"

OG Circuit Demo - Malfunktion by LDM Design

video upload by Isotonik Studios

"Following on from the successful organic Organizm pack, LDM Design this time embraces the synthetic and digital, celebrating imperfection, glitches, and broken machine sounds. The Malfunktion pack provides a great selection of resources which can add a glitchy element to any production, and sounds great with glitch, IDM, minimal techno & ambient styles.

The detailed collection of 64 finely crafted patches includes drones, digital tones, broken machine sounds, crackles, noise, pads and atmospheres. Among atonal noises there are also a number of digital synth sounds, bleepy broken leads & lush pads.

The carefully constructed samples include concrete kicks, clicks, pops, snaps, beeps, databent computer files, and recorded natural clicks from pens and clocks.

Within the pack are also 16 sessions to demonstrate a variety of possible sounds.

The pack uses a consistent set of macros as all my other packs which follow the assignments for the Circuit Tracks.

This pack is for both Circuit Tracks and Circuit OG.

GET IT HERE: https://isotonikstudios.com/product/m..."

New Loops releases "NOIZE (WAV/DUNE Presets)"

New Loops has released NOIZE (WAV/DUNE Presets), a collection of noise textures and sound effects designed for use with samplers and synthesisers.

Here's what they say:

Add character and texture to your drums, or dynamic depth to synths and pads. You'll find many useful noise samples including, vinyl crackle, synth noise, digital noise and glitches, real-world ambiences, gravel sounds, water sounds, rumbling sounds, harsh noise, and much more. NOIZE features 150 noise sounds in 5 categories, including: 55 Atonal noises, 57 Tonal noises, 18 Real noises, 10 Synth noises, and 10 Vinyl noises. Each noise sample is can be looped and is perfect for use in software like Cableguys Noiseshaper (heard in the audio demos), or Devious Machine's Texture, or any software that loads user noise files and samples.

We've tested these noise textures in the following synths: Xfer Serum, UVI Falcon, Synapse Audio Dune 3, Spectrasonics Omnisphere, Arturia Pigments, Kilohearts Phase Plant, Vital Audio Vital, Native Instrument Massive X, Kontakt, and Sonic Academy Ana. You can, of course, use these sounds in any app that uses WAV files.

Bonus Dune 3 Presets
In addition to the 150 WAV files, there's also 150 presets for Dune 3 using the WAV playback feature. Intro Price: £10.99 until January 10, 2021 (Reg. £14.99). Free demo presets are available to download from newloops.com"

Moog Prodigy Synthesizer Model 336A SN 10750

via this auction

"The Prodigy is capable of a full range of synthetic sounds, from a gentle whistle or flute in the upper ranges, to sub-level bass. Features two VCO's (Voltage Controlled Oscillators), one with a sawtooth waveform, a triangle waveform, and a rectangle waveform, the second with a sawtooth, a triangle, and a square waveform. These waveforms could be detuned up or down by more than a fifth of an octave, allowing for the creation of thick pads as well as atonal sounds. The two oscillators could be sync'ed as well, then altered using the pitch wheel. Two audio oscillators and a low-frequency modulation oscillator. The audio oscillator can be synchronized to generate unique waveforms. The audio signal is routed through the patented Moog filter for rich, full-bodied leadline sounds. The Prodigy’s performance controllers let you bend pitch and and vibrato at will. Synthesizer works great. Small dent in metal between "Loudness Contour" and "Moog Prodigy" emblems on case. All pictures are of the actual keyboard up for auction. Manual may be viewed at: [link]"

Sold For: US $770.00

CLICK FOR MORE »

IDOW & MATRIXSYNTH Modular Pic of the Week - Week 26 Contest Winner!

"Our twenty-seventh winner of the Modular Pic of the Week contest goes to Atomic Shadow (photo credit Rod Mitchell), for his 'Lab b/w.'

Atomic Shadow uses a variety of vintage and modern electronic equipment to craft unique sonic sculptures and broadcast them directly from yesterday's world of tomorrow.

For more info on Atomic Shadow, check out his record label's website: http://www.hollowsunrecords.co.uk

We'd like to give a big thanks and congratulations to Atomic Shadow for his submission!

This is the 27th week of a 30-week contest, and we are looking forward to many more modular photo submissions, so please keep 'em coming! For details on how to submit and what you can win, see this post.

For more info on the upcoming 'I Dream of Wires' documentary, be sure to see the trailer and IndieGoGo fund raising campaign here.

See the IDOW label for all posts pertaining to the film including the weekly contest winners."

Disclaimer: If you look closely you might notice something. It looks like a modular system, but there isn't a single traditional module or modular in the shot. The rules of the contest state "- Modular synthesizer hardware only. Semi-modular synth hardware is also acceptable as long as there is evidence of some cross-patching." Great shot aside, why did we opt to put this up? This system consists of sound generators that pre-dated the first modular synthesizers. It gives you a glimpse at what a pre-modular modular system might look like with modern gear. When asked why he submitted this shot when there is clearly no modular in it, Atomic Shadow replied: "I just thought I would send it in because I use it like a modular and it consists of oscillators, filters, and effects that allow me to chop and gate the oscillators and process them in various ways. I have 4 tube driven sine oscillators, one of which also makes a square wave and two solid state sine/square oscillators. By patching them together with various effects and guitar pedals I am able to pitch shift, harmonize and modulate things. The tape machines are my sequencers and the JP8080 mostly gets used as a noise generator.

The rig is similar to any electronic music lab from the 50s, 60s, and 70s. The proto- modular."

For those not familiar with the history of synthesis, before the advent of synthesizers as we know them today, including vintage modulars, people often used tape and oscillators to produce experimental electronic sounds and compositions. These tools led to the creation of the Buchla system, and to some extent the first Moog modular. There is some debate on the original purpose of each, and you may have heard of the East vs. West Coast paradigms on synthesis. In short, the Buchla on the West Coast was highly influenced by Mortin Subotnick who wanted a system to compliment his other tools for more atonal sound generation and exploration typical of musique concrete, while Moog on the East Coast was highly influenced by Herb Deutsch who lead to the use of the traditional keyboard as the interface into producing more tonal music. I recommend the book Analog Days for the history of some of this. There is some debate on the glamorization of the time and some have claimed factual inaccuracies, but it is well worth reading. For a list of more tonal focused electronic instruments throughout history see http://120years.net/. Regarding Buchla and atonal sound generation equipment prior to traditional synthesizers, here's a snip from Wikepedia: "The original Buchla Music Box was the brainchild of Don Buchla and came from a commission by composers Ramon Sender and Morton Subotnick. First built in 1963, this synthesizer was composed of several 'modules' that generated or modified a music event. Each box served a specific function: oscillator, filter, sample and hold, etc. This would have an effect on the pitch, timbre, amplitude and spatial location of the sound. The idea was to allow musicians and composers to create sounds suited to their own specifications. Previously, one had to utilize either discrete audio generators such as test oscillators or via musique concrète, recorded sounds from natural sources. Although it was a fresh and exciting idea and an excellent way to get new sounds, this was very time-consuming and arduous. The Buchla Box allowed musicians to bend and manipulate sound all in one device. This would lead to the many kinds of electronic instruments available today."

Atomic Shadow's system harkens back to these days and incorporates modern day synthesizers with it, all without traditional modular gear. It's a bit fascinating when you think about it.

New Loops Releases "Atmospheric Textures (WAV/DUNE 3 Presets)"

via supporting member, New Loops:

"New Loops has released Atmospheric Textures (WAV/DUNE 3 Presets), 100 atmospheres,soundscapes, backing pads, and ambience's to add tension and suspense to your music.

You'll find a wide range of synthesised sounds including, dark cinematic pads, intense noise-scapes, distorted drones, atonal atmospheres, shimmering pads, alarming sounds, deep rumbles, and more. Atmospheric Textures has over 1 GB of sounds ranging from 14 seconds to 1 minute long. All audio is 24-bit, 44.1kHz WAV files. These WAV files can be used as audio, or used in sample players.

These sounds are suitable for many genres including cinematic soundtrack and film scores, atmospheres and soundscapes, game music and effects, video sound tracks, and also useful for electronica, ambient, drum and bass, techno, and more.

New Loops Atmospheric Textures is available in 2 separate formats - audio WAV and Dune 3 Edition (sold separately). Atmospheric Textures – Dune 3 Edition features 100 presets for Synapse Audio's Dune 3 (includes WAV files).

Intro Price: £14.99 until September 30th, 2021 (Reg. £19.99). Use coupon INSPIRE20 for and extra 20% off store wide. Free demo presets are available to download here."

Native Instruments EVOLVE - Legendary Cinematic Sound

YouTube Uploaded by NativeInstruments on Feb 20, 2012

"Take a look at EVOLVE - the definitive selection of dramatic, cinematic sounds for soundtracks, scores and creative sound design. EVOLVE is created by Heavyocity, the team behind DAMAGE and the EVOLVE MUTATIONS series, and now available from Native Instruments. All music and sound in this video was created exclusively with EVOLVE.

Learn more: http://www.native-instruments.com/evolve"

And the press release:

"Native Instruments Releases EVOLVE

Berlin, February 22th, 2012 – Native Instruments today released EVOLVE, a KONTAKT-based instrument created by premier sound design house Heavyocity, the team behind DAMAGE and the EVOLVE MUTATIONS series.

EVOLVE offers a full-scale resource for cinematic sound design that brings together a vast selection of sounds, rhythms and FX, designed specifically for film composers and sound designers. With approximately 6 GB of sample content, EVOLVE provides a go-to resource for premium quality cinematic sounds, textures and ambiences. A huge variety of styles are included in the instrument, ranging from punchy beats for dramatic tension, atonal stings for added suspense, or serene melodic lines for intricate tonal sequences.

The universally acclaimed EVOLVE was previously only available from Heavyocity, the leading sound design house who also created DAMAGE and the EVOLVE MUTATIONS series in partnership with Native Instruments. Now, for the first time, producers and sound designers are able to access this premier resource for cinematic expression in one place. Furthermore, EVOLVE has also been optimized for MASCHINE, allowing users to browse for sounds and categories directly from the hardware, for an enhanced workflow.

EVOLVE is now available for a suggested price of $229 / 199 EUR at the NI Online Shop. An upgrade for owners of EVOLVE MUTATIONS 1 or 2, or the bundle, is available for $119 / 99 EUR at the NI Online Shop."

Roland SH-32 Shapeshifta Soundset

video by Soundsauca

"Shapeshifta for the Roland SH-32 features 64 luscious synth ambiences and rich analog strings. Trippy leads and sound effects mutate into ear bleeding slabs of weaponised audio.

Open that cupboard and grab that box, blow the dust off and wipe the early naughties from your Roland SH-32’s brain. With Soundsauca’s SH-32 life extension plan you too can inject some new sysex into this unappreciated little fella. Often maligned and misunderstood, the SH-32 is an experimental hybrid of a synthesizer.

Sometimes it feels like a long lost cousin of the JV/XV and JP8k series, other times it spits out D-50 and JD-990 memories. However the SH-32 is it’s own thing and I had a blast getting to know it again. As you might guess, I love the character of the SH-32. It has bags of personality, an enticing blend of lo-fi goodness and tripped out sonic vocabulary.

I hope you enjoy the Shapeshifta, please like and/or subscribe if you do - it sounds cliche, but it really does!

https://www.soundsauca.com/sounds/sha...​

Patch List:

CLICK FOR MORE »

OSCar MONOPHONIC SYNTHESIZER (Full Midi V3)

via this auction

"Polyphony - Monophonic (Duophonic via built-in Sequencer)
Oscillators - 2 DCO's with sawtooth, triangle, and square-, variable- or modulated-pulse waveforms and 5 preset digital wavefroms
LFO - 1 LFO with square, triangle, sawtooth waveforms, sample-and-hold
Filter - Two 12dB/oct analog filters which can be linked in series for 24dB/oct configuration. Lowpass, bandpass, highpass modes.
Dedicated ADSR envelope, Frequency Cutoff and Resonance controls.
VCA - Two ADSR Envelopes
Keyboard - 37 keys
Memory - MIDI Model: 12 user, 24 preset patches. MIDI-equipped V3 (latest): 36 programmable patches. Custom Waveforms: 24 programmable digital waveforms.
waves. Sequencer: 24 sequences.
Control - Trigger In, full MIDI spec.
Date Produced - 1985

OSCar
The OSCar is a classic mono-synth from British manufacturer Oxford Synthesiser Company (OSC). It first appeared on the scene in 1983 and was considered then to be in the same class as the Arp Odyssey & Minimoog mono-synths (it is). Its late arrival makes it one of the more advanced programmable mono-synths. Amazing sounds and digitally controlled dual oscillators with analog filters and plenty of programmabilitie. It also has full midi MIDI spec.

The Oscar is monophonic, but can also achieve duophonic capability when using just one oscillator per voice. Waveforms offered include sawtooth, triangle, and square, variable, or modulated-pulse waveforms. In addition to these analog waveforms, there's an additive-synthesis function allowing you to create your own custom waveforms by simply mixing the amplitudes of any of its 24 harmonics using the keyboard. Up to 24 of these custom waves can be stored and used with either oscillator. Once you've got some sounds it's time to hit the filter section - the real analog heart of this synth! It has two 12dB/oct filters which can be linked for a steeper 24dB/oct slope. It features switchable lowpass, highpass and bandpass filtering and your basic frequency cutoff and resonance type controls. The filter has its own ADSR envelope as well (a second ADSR envelope controls the amplifier section). The filter can also be modulated by the LFO. The OSCar's LFO offers triangle, sawtooth, square, and other wave shapes and can also be used to modulate the amp, pitch, or pulse-width. There's even a sample-and-hold function. A simple built-in sequencer gave the OSCar duophonic capabilities! It could play a sequence on one of the oscillators while the keyboard can be used to simultaneously play along with the sequence. It stores up to 24 sequences. With full MIDI spec (V3) you can easily synchronize your OSCar and other MIDI gear together and a computer! The sound patches that are stored in memory can also be dumped via MIDI to more permanent storage mediums. MIDI models also offered 36 programmable memory patches which are assigned to the actual keyboard keys (pre-MIDI models had 12 preset and 24 user patches). The OSCar is very hard to find as there are little more than 2000 in excistence, so now is your chance.

It is working well and has been well maintained over the years by the same qualified engineer who used to work in the famous 'Rod Argents Keyboards' in Denmark Street, London W1, the same place I purchased her back in 1985.

‘Sequencer’
The OSCar's sequencer, operates in step-time mode, and is fairly sophisticated. It features the rare ability to lengthen notes or insert spaces, so that it isn't restricted to producing an
endless stream of notes of identical length. This is done by holding down the required note while advancing the step button, or pressing the Space button just below the wheels.
Twenty-four sequences can be stored (the numbered keys being pressed into service for one more function) but then these can be chained together into more complex sequences, complete with program changes. As a result, with a bit of planning, you can produce really quite sophisticated bass lines and other monophonic sequences, whilst playing a second part over the top, if you want. All this can be triggered externally via a Click In which is ideal for interfacing with the drum machines of the day (Linn, Emu Drumulator, Sequential Drumtrak) and OSCar can often be seen as one half of a very tight rhythm section at live gigs. There is even the facility to sub-divide the incoming clocks to create slower or faster lines without spending hours inserting Spaces or making each note four times the length. The same triggering is available on the arpeggiator, which made it amongst the most flexible of the day with multiple octave ranges and random ordering. Or you can just use your computer for sequencing and a nice midi cable, it's your choice.

Oxford Synthesiser Company OSCar Specifications
* Type: Synth/ keyboard/
* Synthesis Type: Digital Accoustic simulation Subtractive, Additive (24 harmonics)
* Polyphony:
o Max: 2
o Typical in use: 1
* Multi-timbral (number of parts): 1
* Oscillators per Voice :
o Min : 1
o Max : 2
* Controllers : Pitch bend, mod wheel, (sysex?)
* Effects :
o Number of FX units : 0
o Number of different effects : 0
* Keyboard :
o Number of Keys : 37
o Can send on 1 simultaneous MIDI channels
o Responds to :
o Sounds can be split by :
* Memory :
o Patches : First versions: 12 RAM/24 ROM. Later versions: 36 RAM.
o Performances :
* Inputs and Outputs :
o Number of Audio Outs (excluding Phones) : 1 stereo
o Number of Audio Ins : 0
o Number of MIDI Outs (excluding Thru) : 1 (if MIDI'ed)
o Number of MIDI Ins : 1 (if MIDI'ed)

Well known artists credited as using OSCars include:
* Billy Currie, Chris Cross and Midge Ure of Ultravox
* John Foxx
* Geoff Downes (Asia)
* Jean-Michel Jarre and Dominique Perrier
* Keith Emerson
* Stevie Wonder
* Tim Simenon
* Sneaker Pimps

Examples of OSCar sounds on commercial releases include:
* Ultravox - "Love's Great Adventure" (solo, atonal sequence)
* Band Aid - "Do They Know It's Christmas" (bass line)
* Jean-Michel Jarre - "Revolutions Overture" (bass line, solo at climax)
* Stevie Wonder - "Skeletons" (bass line [with Elka Synthex])
* S-Express - "Theme From S-Express" (bass line)"

Retroaktiv PG-2K Patch Generator - Synth Bells Category

video upload by Retroaktiv Synthesizers

"Here's a short demo of the "synth bells" category on the Retroaktiv PG-2K's patch generator. Create infinite new sounds at the touch of a button. The patchgen algorithm in this clip generates bright, shimmery, synth bells, usually with some release. Each algorithm in our patch generator creates different styles of synth sounds. All of our controllers have an extensive patch generator like this."

Update:

Retroaktiv PG-2K Patch Generator - "Atonal/Bell Tree Category" Demo

video upload by

"Here's a clip of us demonstrating the PG-2K Patch Generator algorithm called "Atonal/Bell Tree/Chime", which was designed to create gongs, metallic sounds, hand bells, chimes, and other similar instruments. There are over 20 other algorithms on PG-2K, including pads, polysynths, brass, basses, strings and more. Retroaktiv controllers are more than just a bunch of knobs on a pretty enclosure."

Qu-Bit Mojave | Live Granular Sandstorm

video upload by Cinematic Laboratory

"It's not easy to make a Mojave video after doing one about Arbhar V2. First, let me clearify that Mojave is an effect that needs a source, and Arbhar is more like a granular synth that can run completely by itself. I will clear this up in the forthcoming Grainstation 2 video with a big compare of synths vs effects. I am not sponsored so I can share my personal thoughts on this.

Mojave is great for processing rhythmic atonal sounds like percussion or found sounds. It's not ideal for processing melodic phrases because it's hard to keep in tune. There's no typical harmonic spread but somekind of random sequence generator that follows a scale. So it can suddendly behave like a granular engine with a built in 'Marbles' and you have no control over what's going on except shutting it up. If you're in the wrong scale, it can go major in a minor patch. It's designed for live, but it can easily trash your gig too.

But don't get me wrong, Mojave is definitely a keeper. This video is a journey where I slowly learn to understand and deeply appreciate the module.

If you already own Beads, you may want to skip Mojave because they're roughly on the same functional and sonic level. If you're completely new to granular, you need to figure out if you want an effect or a synth. Mojave has no storage, it doesn't remember anything when the power goes down. And if you're serious about live graining (and sustaining) real acoustic instruments, forget about the built-in mic and get a decent stereo field recorder with audio out. However, since Mojave has no storage, I'd recommend having a sample player nearby and store your field recordings there."

You can find additional Qu-Bit Mojave posts here.

Xaoc Devices Sofia, Koszalin, Gera & Poczdam

video upload by Xaoc Devices

"Sofia is an unusual analog oscillator based on an original waveforming principle. The sound is a mixture of a warm saturated base tone and two modulating ripple elements. A wide array of control inputs coupled with separate outputs for numerous components of the sound shaping chain allows for extensive self-patching and complex animation of the final waveform. The resulting range of possible sounds is surprisingly vast, including but not limited to: vowel-like, tearing hard-sync effect, woody pings, warm and fuzzy sine-like evolving tones with a touch of bright sparkle on top. Sofia pairs very well with filters, but it also shines with just a VCA.

24hp, 30mm depth (including ribbon cable bracket)

Current draw:

+90mA/-80mA/0mA

Available: June 2022"

Xaoc Devices Koszalin

video upload by Xaoc Devices

"Koszalin is a full stereo frequency shifter (2 ins / 4 outs) offering both quasi-exponential and linear frequency change of up to +/-5kHz as well as full stereo feedback under voltage control. Frequency shifting results in linear translation of signal spectrum producing all kinds of atonal sounds. It should not be confused with frequency scaling, also known as pitch shifting. Complex phase cancellation patterns occurring with frequency shifting and deep feedback produce spectacular barber-pole effects. Koszalin offers direct control of feedback amount, feedback routing, and feedback response. It also facilitates frequency modulation of any stereo audio signal, thanks to the linear TZFM input.

10hp, 43mm depth (including ribbon cable bracket)

Current draw:

+12v 140mA/-12v 30mA/5v 0mA

Available: May/June 2022"

Xaoc Devices Gera & Poczdam

video upload by Xaoc Devices

"Gera

Gera is a component of the Leibniz subsystem that allows masking individual bits of the digital data by the use of logical AND operation. It features 8 individual gate inputs that affect the individual bits of data, as well as 8 illuminated tact switches for manual inverting of each control input. When connected to Drezno that is processing a waveform or voltage, masking of individual bits yields various forms of quantization.

Bit processing logic in Gera is hardware based, hence there is virtually no latency, and the binary signals may change at extreme rates.

6hp, 30mm depth (including ribbon cable brackets)

Current draw:

+12v 45mA/-12v 0mA/5v 0mA

Poczdam

Poczdam is a binary data routing solution for the Xaoc Leibniz subsystem. It allows manual and remote switching between two Leibniz data sources, modifying individual bits of the data stream, and re-clocking the data with its onboard voltage controlled wideband oscillator, or with any external clock signal. Poczdam is particularly useful with complex Leibniz setups that need to reconfigure the data flow between multiple modules. However, it can also be employed in small creative patches, e.g. for waveform splicing, disrupting rhythmic loops or generating digital chaos.

10hp, 30mm depth (including ribbon cable brackets)

Current draw:

+12v 20mA/-12v 10mA/5v 0mA

Available: June/July 2022"

MOOG PRODIGY - Exclusive 1:1 Replica / Clone

Note: Auction links are affiliate links for which the site may be compensated.
Uploaded on Aug 12, 2018 John Doe

Update: some pics of the inside added below. According to the seller, this was a special order built from the schematics of the Prodigy.

via this auction

"Up for sale is EXCLUSIVE ONE-AND-ONLY 1:1 replica of legendary "MOOG PRODIGY" analog syntesizer.

Build build as a special order for private studio by a professional engineer.

The unit is build from the original "Prodigy Model 336A" scheme with the use of authentic top quality components which provides those original iconic sound. The synth is 100% pure analog. Its effective design employs two voltage controlled oscillators (VCOs) with saw, triangle and pulse waveforms. These waveforms could be detuned up or down by more than a fifth, allowing for the creation of thick pads as well as atonal sounds. The two oscillators could be synchronized as well, then altered using the pitch wheel (in sync mode, the pitch wheel would alter the tonality of the sound, not the pitch. Roaring synth leads were made possible using this feature.) There's also a genuine Moog 24dB / octave lowpass filter (emphasis), A/D/S envelope generator, and LFO with square or triangle waveforms and routing to the VCF, VCO or both! Even Portamento, Pitch and Mod wheels. This instrument is capable of a full range of synthetic sounds, from a gentle whistle or flute in the upper ranges, to sub-level bass (a sub oscillator allowed for very deep lows). The voltage controlled amplifier (VCA) was controllable only via a 3-stage ADR envelope controller (ADR short for Attack Decay Release). The low frequency oscillator (LFO) of the Prodigy featured a triangle and square waveform, which could be routed to the VCO or VCF to create pitch or filter modulation effects. Keyboard has 32 keys. The casing is made of wood + metal (just like the original).

CLICK FOR MORE »

Elektron Digitakt II + Syntakt + Octatrack + Analog Heat+FX + Modular Synth Techno Jam

video upload by Group Technologies Australasia

"With the new Digitakt II, Octatrack, Syntakt, Analogue Heat+FX and a small modular synth rack for extra spice, we've assembled a powerful Elektron performance rig. This configuration demonstrates the Digitakt II and Octatrack's sampling capabilities and how well they work together. With 12 tracks of digital and analogue machinery, the Syntakt is just as capable of producing rocking beats and synth work. Not to be overlooked is the Analogue Heat + FX, the sonic processing palette that glues everything together. This is a live, improvisational jam that was captured in one take without any additional post-production or processing.

Set-up details:
Octatrack: master clock, mixer, resampling and providing some performance effects for the Syntakt and modular synth.
Digitak II: main drums and rhythmic loops.
Syntakt: additional percussion and minimal synth sounds.
Modular Synth: percussive bleeps and atonal sounds from voices LIP and SY0.5.
Analog Heat +FX: end of chain audio processing. Also some filtering and reverb effects.

Audio Routing:
Modular synth into external input on Syntakt
Digitakt II and Syntakt running into the Octatrack.
Octatrack output (stereo) into Analog Heat +FX.

MIDI Routing and Sequencing:
Octatrack is the master clock, sending MIDI clock to all other boxes. Internal sequencers on each box are in use, no external sequencing."

Moog Prodigy Vintage Analog Synthesizer w/ External Control, CV/Gate SN 10663

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

via this auction, also on Reverb

"1983 Moog Prodigy model 336A monophonic synthesizer in excellent condition and in perfect working order, featuring the external control section for CV/Gate and MIDI/CV interfacing. Produced from 1979-84, this short-lived synthesizer has become very popular as a bass synth in techno and electronic music; used by artists including Fatboy Slim, Depeche Mode, and The Prodigy (who even named themselves after it). Only 11,000 were ever made, and this example (with a serial near the end of the production range) dates to late '83.

The Prodigy features a dual voltage-controlled oscillator design, and this versatile synth delivers classic analog sounds with controls that are both user-friendly and versatile. Oscillator 1 has sawtooth, triangle, and pulse waveforms, and Oscillator 2 has sawtooth, triangle, and square waveforms. The waveforms can be detuned up or down by more than a fifth for thick pads and atonal sounds, and the oscillators can also be synchronized; in sync mode, the pitch wheel alters the tonality of the pitch as opposed to the pitch itself, enabling roaring synth leads.

There are Oscillator Mod, Mixer, Filter, Filter Contour, and Loudness Contour control sections, as well as Tune and Slide Wheels. The Prodigy features a genuine Moog four-pole 24dB/octave lowpass filter (the Emphasis knob), A/D/S envelope generator, and LFO with square or triangle waveforms and routing to the VCF, VCO, or both. The synth features both Pitch and Mod wheels. The back panel has a notably expanded range of controls compared to early examples of the Prodigy, and the external control section includes S Trigger in/out, Keyboard in/out, Oscillator in, VCF in, Sync in and Hi Level audio out. These additional features are essential for interfacing with CV/Gate or MIDI/CV devices.

The synth retains its original end caps which show moderate wear, and the bass-side end cap has a small chunk missing out of the back bottom corner. All of the original knobs and switches are present, and the graphics are clean. Cosmetic wear includes a number of minor nicks and scratches on the enclosure, largely relegated to the back and sides."

CLICK FOR MORE »

"EXPERIMENTAL ELECTRONIC MUSIC EXPERIENCE" - PIOTR GARBACZONEK (FULL LIVE PERFORMANCE AT BERKLEE)

video upload by Piotr Garbaczonek

"Thank you all so much for watching my performance!
Date: December 14th, 2021
Location: B54 at Berklee College Of Music, EPD Labs
(Electronic Production and Design)

This show was my showcase as part of my EP-491's final project for my major. Aside from finishing a 5-track EP in a semester, I also was preparing this set for a very long time along with all the music. I decided to pull in a few songs from my previous EP: Experimental EP, Vol. 01, to spice up the performance a bit. The songs included were: Conformity, as the first song after the modular-only section; Time, which was the song at the end of the set with the QR code to my social media links. Everything else was songs from the past 4 months.

All the visuals were edited beat by beat, a song by song in Adobe Premiere Pro, and then rendered and then put into an Ableton Session to be played in a specific earlier-defined order.

I divided the show into 2 sections: Ambient Experimental, and Glitch Experimental.

The first part included rhythm-free elements only and primarily played on various modular synths, up until the 13th minute, where modular synths were supporting all the songs played in order.

The second part included various drum elements, as well as glitch music and frequency spectrum bending polyrhythms.

In terms of gear used, I used my Zoom L-12 Multitrack Mixer, to record all of the individual inputs directly into Ableton. Ableton had different effects in the effects chain of each track depending on what was necessary for each one.

For all the weird clock-driven, laser-sounding fast atonal sounds, I used the CMS MR-15 Modular System based off of the ARP 2500. For some chords and mild sawtooth progressions, I used the Blue Marvin 2600, which is based on the ARP 2600 with built-in Spring Reverb. The Blue Marvin was sequenced by one of my Qu-Bit Bloom Sequencers running in the minor key.
The master clock for everything was the ALM Pamela's New Workout, and it was clocking the CMS, Blue Marvin, 2x Qu-Bit Bloom, Qu-Bit Chance, Moog Subharmonicon (which was doing all the background pads), and Mutable Instruments Rings.
There were various other sequenced sounds, including Mutable Instruments Plaits as a 32-step arpeggio in minor, as well as Mutable Instruments Rings, going through Clouds as a textured effect.
Cwejman VCO-2RM was running through Qu-Bit Tone's LPF, and directly out as a very low analog sub.
The E340 Cloud Generator was my analog Wavetable synth, which I played directly on the Arturia Keystep MIDI-Controller, by sending it pitch information only, and running it through MI Ripples, and out.
The Instruo Arbhar was running in stereo mode, and that one was doing all of the tapping and scratching noises in left and right channels. It has a built-in condenser mic, so I was tapping it on the spot to fill up some space in transitions for some ASMR effects haha.
That's pretty much it in terms of gear used.
If you have any questions about anything, please don't hesitate to ask in the comments. I will happily answer.

Again a huge thank you to Wiggz for doing some cool action shots while I was playing.
This is his YouTube channel: https://www.youtube.com/channel/UCItL...

And thank you to Dr.B for being an amazing professor, and leading me through the last stretch of my EPD Journey, as well as opening new doors for me for the future.
-
Here are some links of mine:
https://linktr.ee/pgarbaczonek
-
Go follow my Patreon here:
https://www.patreon.com/pgarbaczonek?..."

Screaming Angels - Stereo Disharmony Generator - Now For Sale

YouTube via ChrisLody
"Screaming angels is available to buy on Etsy.com here:

http://www.SymetriColour.etsy.com

Screaming Angel produces 6 triangle waves at similar but generally unrelated pitches so produces atonal sounds. The pitch of each triangle wave is controlled by its own light detector. These are paired off into 3 waves in the left channel and 3 waves in the right.

Keep your eyes peeled as there are 3 more flavours to come."

Korg Volca Keys & Loopy HD - building textural layers

Published on Mar 26, 2015 DreamsOfWires

"This is more an example video than anything else, so I'm mostly making it up as I go along. I was just experimenting with layering seemingly atonal sounds using Loopy HD, then adding a melody I'd composed earlier. The only effects were some reverb added in mixdown."

iTunes: Loopy HD - A Tasty Pixel
Korg Volcas on eBay

Access Virus FM Power | Synthmorph Sequences

Published on Apr 28, 2017 SynthMorph

"https://synthmorph.com/products/acces...
Virus FM Power is not just a distinct soundset of 94 presets based on FM synthesis capabilities of Access Virus, but also contains 20 special morphing Synthmorph MIDI sequences."

"Although the classic Access Virus B and Virus C are primarily virtual analog synthesizers, they are armed with a simple two-operator FM mode applying frequency modulation synthesis. Despite this simple 'pseudo-FM' structure, Virus uses some clever methods to extend the range of possible FM sounds into its own unique territory of amazing sonic landscapes.

As this synthesizer has a special frequency modulation character, it proved to be a rewarding idea to dig deep into this part of the Virus and making presets using its FM-only features. What does it mean? The filters are usually completely off (as the original Yamaha DX7 did not have a filter at all), but the unison modes, the arpeggiator and the otherwise powerful distortion are hardly used too. Even the built-in effects were used differently – they are disabled most often!

The idea was to create pure, punchy, bright FM sounds. While the presets were inspired by some classic FM presets, a Virus always encourages you to break the rules and create something beyond the ordinary: you can use these sounds not just for synthwave, ambient, techno, edm, pop, psy, house or trap, but basically for any purpose.

The sonic palette is varied: deep and raspy FM basses, crystal clear keys, tinkling mono leads, animated pads and sharp plucks, often spiced up with some irregular yet controlled atonal, aliased, and droning nature."

Commie Rogue SN 8535

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

via this auction

"Does the inauthenticity of the bourgeois life have you down? Want the dictatorship of the proletariat NOW? Then this is the synthesizer that you need. Lovingly crafted in Soviet Russia (ok, actually Buffalo, New York), this radical synthesizer will give you EVERYTHING you need to expose the hypocrisy of liberal freedom. In addition, it comes with the original instruction manual. How cool is that, comrade?!?

A monophonic analog synthesizer produced by the original Moog Music in the early 1980s, The Rogue featured a 32-note keyboard and two VCOs. VCO number 2 is tunable between a half-step below to an octave above VCO number 1. This allows the Rogue to play atonal sounds like the Moog Prodigy. The Rogue did not have features to allow the user full flexibility to program the patch settings, however the VCF and the VCA were simple in operation. The synthesizer is most commonly used for its powerful bass.

This synth is in perfect working condition. Don't pass up this opportunity to join THE STRUGGLE..."

CLICK FOR MORE »