Ornament and Crime chords: a spring depression

Published on Apr 17, 2018 NONsynth

Let this one develop.

"Finally got around to testing out the Harrington 1200 mode on the Ornament and Crime, using the Audio damage Sequencer 1 to conjure up some minor chordal goodness. Patch notes below:

Bass voice is Rings with an envelope on the brightness to get more of a bass guitar sound - into Sputnik 4-tap for a bit of ping pong because I can't resist.

The Sequencer 1 sends pitch and gate to the o_C in Harrington 1200 mode. The CV1 and CV2 channels are used to control chord inversions and octave switching. The Accent trigger out is sent to some weird switching input for the Tonnetz whatchamacallit transformations. The four pitch outs go from the o_C to the Roland System 500 512 oscillators and the two Shapeshifter oscillators, all into the System 500 530 VCA to the 521 VCF to the Audio Damage Dimensions chorus to a Disting stereo reverb and out.

The whole patch goes through the Boss RV-6 reverb and I threw some drums on in Reaper for good measure."

Harrington 1200

Audio Damage - Sequencer 1 - Part 2

Published on Apr 23, 2015 DivKidMusic

"Here's the second in a 5 part series of videos for the Sequencer 1 module from Audio Damage. In this part of the video I'll be going through the scale modes and CV outputs exact timings are listed below so you can skip straight to the sections relevant to you."

New Audio Damage Sequencer 1 - Eurorack Format

Saw this one at the TRASH_AUDIO / Muff event yesterday. I have some pics that will go up later today. It was the one module that seriously caught my eye at the event.

Details / repost via Analog Industries:

"We unveiled this module this morning at the Muff Wiggler / Trash_Audio synth meet in Portland, and here's some info on Sequencer 1.

The astute among you will notice a passing similarity to the Elektron Analog Four, and if imitation is the sincerest form of flattery, we're flattering the fuck out of those guys with this little bitch. Here's some vital statistics:

• 36HP, 20mm depth.

• 4 banks of 16 patterns, each pattern can be from 1 to 64 steps long. The entire state (all banks and patterns) can be saved to SD card as a preset, so the memory is essentially unlimited.

• Clock input can be per step (like any other sequencer's clock), or 24ppq or 48ppq for DIN sync (via a simple 5-pin DIN -> 3.5mm adaptor). Clock output can be a staggering number of choices, which is handy if the unit is acting as the master clock. The Run input can be operated a couple different ways, as can the output. In short, it can interface to pretty much anything clockish, and can in turn drive pretty much anything in a clocklike fashion.

• Each step gets a 1v/Oct output, three CV outputs (that can each be either 0-10v, -5 to +5v, or 0 to +5v), a main gate output, and an auxiliary gate output. Gate length is programmable per step.

• The playback modes are forward, reverse, pingpong, pingpong with double end triggers, skip forward, walk, and random. This is programmable per pattern.

• There are several ratcheting features; you can program a ratchet of various lengths per step, or you'll note the 6 buttons labeled "REP." These will repeat, in order, the last 8, 4, 2, or 1 steps as a loop, or cause the step you hit them on to repeat in half or quarter time. (In the same manner that the MIDI triggers in Replicant work, basically, if you own that plugin.)

• As I hinted before, SD card for storage and OS updates.

There are many other deep features that I'm not able to talk about at this point. Our goal is to make the single most sophisticated sequencer available for Euro, and I think we've accomplished this already, let alone what we're adding as we go along. We haven't finalized pricing yet, or availability. We're hoping for US$599.00, and about two months. But both those numbers are subject to change."

Audio Damage - Sequencer 1 - Part 3

Published on May 13, 2015 DivKidMusic

"Here's the third in a 5 part series of videos for the Sequencer 1 module from Audio Damage. In this part of the video I'll be going through the clock settings, swing, creating envelopes run and reset."

All parts.

Audio Damage Introduces New BOOMTSCHAK, DUB JR MK2, & Stomp Boxes

via Analog Industries. The following covers the new products. Click through for some additional thoughts from Audio Damage's Chris Randall on NAMM itself.

"Day One of NAMM is in the books, and we've unveiled our four new hardware products. First up is ADM14 BoomTschak (or 'BT,' as we call it. We're hip to brevity at AD.) This is our first 100% analog product. Not a single line of code. Our motivation was to create a quality high-end analog drum voice, and I think we hit this one out of the park. Accent and choke inputs, a stonking self-resonant multi-mode filter of our own design, three envelopes with curve controls, and a waveshaper give this thing a wide palette. It is a real bruiser, and since it will join Sequencer 1 at the top of our ecosystem, you'll be seeing a lot of it here and in my Instagram feed. We haven't got all the quotes in yet, so we're not 100% on what it's going to cost, but we feel like $450 is attainable, despite the ludicrous parts count. (It has 16 knobs on it, for the love of all that is holy.) We should be shipping these in about 6-8 weeks.

This little fella is DubJr Mk2. It's basically DubJr, at a much higher build quality, and with all the features that people have asked for since the original was released. (Was it 4 years ago? Wow.) Tap tempo, clock input, selectable "free" or "jump" times, and a feedback loop cover all your clocked delay needs, in a 6HP package. Like all of our 6HP effects, this will be $289, and will be shipping in about 3 weeks.

Aaaaand ADP01 Fluid and ADP02 Freqshift. These are stereo guitar pedals. They have true analog bypass, assignable expression pedal destination, and custom laser-cut steel chassis. Having done my time on stage, I know what a bullet-proof pedal needs to be able to take, and these are as tough as they come. ADP01 Fluid is a direct descendant of our super thick 6-delay chorus in our Fluid plugin, with the alterations present in the ADM11 Dimensions Eurorack module. (There already is a Dimensions pedal, so we just named it what it is, Fluid.)

ADP02 Freqshift is a derivation of our original Freqshift module, with alterations for the stereo guitar pedal context. I have never personally really bothered with frequency shifting as an effect in my music, so I was unprepared for what this thing can do. Adam did a hell of a job with the DSP on this one, and it is a super useful and unique effect that can go from the widest, deepest stereo phaser you've ever heard on up to insane screeching and pure industrial craziness. Every guitar player that came to our booth yesterday went "holy shit..." when I kicked that bitch on.

These will be shipping in about 5 weeks, theoretically, but as this is our first foray in to pedal manufacturing, we're approaching it with some caution. I'd rather they took a little more time and we got them absolutely right. So we'll see how that plays out. These will be $290 each."


Published on Jan 22, 2016 Analogue Zone Showroom / Synths and Studio

"NAMM2016 Introducing the New Audio Damage DubJr MK2 and Boomtschak Eurorack Module

Available soon from
http://www.analoguezone.com/"

NAMM 2016: Audio Damage - Boom Tschak and Dub Jr MK2

Published on Jan 22, 2016 sonicstate

Verbos Electronics Touchplate Keyboard controlling Audio Damage Seq1

Published on Feb 2, 2015 modularsynthesizers.nl

"Short and very simple demo of the Touchplate keyboard controlling the Sequencer 1. Touch CV out to CV in 1 (transposition).
3 modules:
Verbos Electronics Touchplate keyboard
Audio Damage ADM06 Sequencer 1
Intellijel Atlantis."

Audio Damage Releases Pumphouse for iOS

Audio Damage Pumphouse Overview

Audio Damage, Inc.
Published on Aug 15, 2017

iTunes: Pumphouse - Audio Damage, Inc.

"What do you do when you need the sidechain pumping effect in an iOS DAW that doesn't have sidechaining? Pumphouse to the rescue!

Pumphouse is a simple and excellent compressor (taken straight from our RoughRider 2 codebase) coupled with a step sequencer driving an envelope generator. In this manner, you can sidechain-compress your pads or bassline against a 1-measure pattern, no other inputs required.

With an easy-to-understand interface, Pumphouse is a quick method for getting That Sound.

Pumphouse requires transport information to work. Please note that some iOS AUv3 hosts do not have a transport. (At this time, Auria Pro that we're aware of.) There is an Inter-App Audio version supplied, but it also requires transport info.

We have tested and approve the AUv3 with AudioBus 3, Cubasis, GarageBand, AUM, ModStep, Zmors Modular, and Beatmaker 3."

CLICK FOR MORE »

Audio Damage Odio vs. Borderlands Granular Synth

Published on Apr 2, 2015 Audio Damage, Inc.

"A simple demonstration of our Odio iOS audio interface for Eurorack modulars, running the Borderlands 2.0 granular synthesis app on an iPad.

The speech synthesis is coming from a prototype module (potentially ADM10, but that hasn't been decided yet.) The hi-hat sound is from our Mad Hatter module; the analog synth melody line is from the WMD/SSF module collection, and the whole raft is sequenced by our Sequencer 1 platform.

For information on Odio, Mad Hatter, and Sequencer 1, visit http://www.audiodamage.com"

For information on Borderlands, visit https://itunes.apple.com/us/app/borde..."

Introducing the Onde Magnétique OM-1 Cassette Synthesizer

Published on Jul 5, 2016 Scott Campbell

http://www.ondemagnetique.com

"The OM-1 Cassette Synthesizer is an analog musical instrument built around the concept that when a continuous tone/note is recorded to tape, its pitch will change as the tape's playback speed is increased or decreased. Individual notes are playable via the 8 buttons (keys), each with a tuning knob directly above it. The volume of the notes can be articulated by using the pressure sensitive volume control - the harder its pressed, the louder the note. A three position switch controls attack/release response of the audio output - Short, Medium, and Long. CV/Gate inputs allow control over the cassette's pitch and volume from a linear (non-quantized) voltage sequencer."

Onde Magnétique Cassette Synthesizer - Basic Operation

CLICK FOR MORE »

unboxing A-152 addressed T&H/ Switch

Published on Sep 5, 2013

"unboxing A-152 addressed T&H/ Switch
first tweaking with
A149-1 RCV Quantized\Stored Random Voltages
Make noise Function as clock
LDB 1e analog drums
2x monotron-e bass
Pittsburgh sequencer

patch :

LDB 1e analog drums are triggered by a152 Dig out
monotron -e lfo are feed into a149-1
a149 dig rnd outs are feed into a152 sw i/o
function eor and eoc are used as clock for a149 and pittsburg sequencer
pittsburg sequencer two outputs are sent to monotron-e 1v/oct
both monotron-e filters are controlled but it's LFO
function + and - are sent to lfo rest on both monotron-e
a152 T&H controls both monotron-e VCO cv

audio is sent to ableton live and processed with audio damage dr device"

via Doepfer:

"Module A152 is a very useful switching and T&H module. It combines a voltage addressed 1-to-8 multiplexer and 8 fold T&H that can be used as kind of an analog shift register too. The active in/output is displayed by a LED. The digital output of the currently addressed step outputs "high". The remaining digital outputs are low.

Instead of voltage control even clock/reset controlled addressing of the active step is possible. The rising edge of each clock signal causes an advance to the next state. The rising edge of the reset signal resets to step 1.

Basis principles: The sum of the voltages coming from the manual Address control and the CV input define the currently addressed step of the 3 sub-devices. If the module is controlled by clock and reset the control voltage has to remain unchanged as the CV control has priority over the clock/reset control (e.g. simply turn the CV control fully counterclockwise and do not touch the Address control knob).

Sub-device #1 is the bidirectional 8-fold multiplexer (kind of an electronical 8-fold rotary switch). Bidirectional means that it works into both directions like a mechanical rotary switch: the common socket may work as an output that is connected to one of the 8 inputs that are e.g. connected to modulation or audio sources. But the common socket may even function as input. In this case the signal applied to the common socket is output to the currently addressed single socket. The voltage range of the in/outputs to be switched is the full A-100 voltage range -12V....+12V. All A-100 signals can be switched without any restrictions.

CLICK FOR MORE »

A Trip To Berlin With Sequencer 1

Published on Sep 28, 2014 Audio Damage, Inc.

"A brief demonstration, starting with a blank pattern, and ending with a random repeating "Berlin School" pattern.

Patch is WMD PDO to DSI Curtis Filter to WMD Multimode VCA to Audio Damage DubJr to Circuit Abby Mixer. Amp envelope courtesy from Doepfer quad ADSR. All modulation coming from Sequencer 1.

(Note, since it will be asked: the digital noise in the patch, which is apparent if you listen in headphones, is due to fact that this is a programming rig, and is connected by un-isolated USB to a computer. The noise comes from the embedded programmer. I forgot to disconnect it before recording this. No big deal."

Audio Damage ADM12 Neuron Demo (Triple Loop) Demo

"This demo uses three tracks of Neuron, all heavily modulated. The first Neuron appears by itself, doing low-end material. After four measures, the second Neuron comes in, doing mid-range material. After another four measures, the third Neuron appears, doing high-end material.

The three Neurons were sequenced and modulated by two Audio Damage Sequencer 1 modules, and a monome White Whale. No other modules were used; the Neurons were recorded straight in to Ableton Live with no post-production at all."

perfseq

Published on Aug 24, 2014

"Another one of those 'more fun to make than to watch' videos. Testing out my performance sequencer for monome/M4L. The Audio Damage Sequencer 1 is synced to Live.

So, without going in to tedious details, the perfseq is sequencing the rhythm parts, Sequencer 1 is sequencing the synth parts, and the drones are coming off the 4-track. Ain't technology grand?"

KORG Monotribe System Version 2 Announced

Update: Parts 2 - 5 added and first user vid and SoundCloud below.



KORG monotribe version 2 : part.1「アップデート方法」

YouTube Uploaded by KORGINC on Dec 1, 2011

Video description further below for the archives. It appears to be just the upgrade procedure. Back to the days of cassette updates. The following is from the Korg US website on version 2:

"Announcing a major update for the monotribe!
Version 2 provides many new features to take your playing to a new dimension!

Announcing a major update to the monotribe analog ribbon station --- the full-fledged analog synth and rhythm unit with a step sequencer inherited from the Electribe! The monotribe Version 2 adds a plethora of new features, allowing you to create sequences that are even more elaborate, or to layer complex musical developments for extended performances.

CLICK FOR MORE »

Modular Jam 43: "I'm Listening To Reason"

Published on Jan 31, 2016 ngarjuna

"Bassline was constructed using Medic Cranial Saw and Rubicon into the Minimod voice (VCF-EGs-VCA) sequenced by Audio Damage Sequencer 1

West Coast generative sequence was produced using Sequencer 1 to modulate Wogglebug's clock and Woggle's stepped out to modulate Rene's pattern. The voice involved one channel of the Optomix receiving shape modulated STO and the other receiving through zero FM signals from the Rubicon folded through the Nonlinear Circuits Timbre, both enveloped by Make Noise Maths.

The pitch-less howling voice is a cross mod between the two Sputniks through the Timbre and the Optomix (again, Maths). The random gate out on Wogglebug is used to piss off the 4ms PEG's action toggle which is feeding CV to the additional CV in on one of the swarming beehives...erm Sputniks

Drums in Arturia Spark (electronic) and Jamstix (percussion)"

WMD/SSF DPLR Videos by kuxaan sum

WMD/SSF DPLR Published on Jul 5, 2015

"The WMD/SSF DPLR is versatile dual channel delay.
Very immediate and extremely fun to play with.

Basic Patch:
(ADM06)Audio Damage Sequencer 1 pitch to WMD PDO to WMD TBVCA to DPLR

ADM06 gate to WMD MME to TBVCA

DPLR Out 1 & 2 to MakeNoise Rosie A & B in.
Rosie TRS out to Kodak Zi8 input

Later modulation:
Maths to Regen
Mod Orgy to Spread
PH-4 to Delay"

TR-606 meets DPLR

Published on Jul 5, 2015

"The WMD/SSF DPLR is versatile dual channel delay.
Very immediate and extremely fun to play with.

TR-606 out to DPLR in

PH-4 patched briefly to all CV ins
Then:
Maths to Spread
Mod Orgy to Delay
PH-4 to Regen

Various XTALK settings

DPLR Out 1 & 2 to MakeNoise Rosie A & B in.
Rosie TRS out to Kodak Zi8 input"

DPLR XTALK on TR-606

Published on Jul 5, 2015

"The WMD/SSF DPLR is versatile dual channel delay.
Very immediate and extremely fun to play with.

Here I am just going through some of the XTALK presets at various settings to hear the feedback regeneration differences.

TR-606 out to DPLR in

Maths to Spread
Mod Orgy to Delay
PH-4 to Regen

Various XTALK settings

DPLR Out 1 & 2 to MakeNoise Rosie A & B in.
Rosie TRS out to Kodak Zi8 input"

Toppobrillo Quantimator eurorack quantizer

Published on Dec 16, 2014 bigcitymusic

"The Quantimator is quantizing an LFO’s output to generate melody/harmony with an oscillator and effects module.

4ms Quad Pingable LFO to Toppobrillo Quantimator Input and Pittsburgh LPG cutoff
4ms Quad Clock Distributor to Quantimator Trigger Input and Pittsburgh Sequencer
Pittsburgh Sequencer to Quantimator Chord input

Quantimator CV output 1 to Pittsburgh Oscillator
Quantimator CV output 2 to Audio Damage Grainshift

Pittsburgh Oscillator to Pittsburgh LPG
Pittsburgh LPG to Audio Damage Dub Jr, Audio Damage Grainshift and Low-Gain Electronics Submix

Dub Jr. & Grainshift to Submix

Submix of dry, delayed and grain shifted signal to Tiptop Z-DSP Halls of Valhalla Card

Pittsburgh LFO2 to Z-DSP Valhalla Reverb dry/wet"

Audio Damage Bitcom Details

First posted on Dec 4, details are in. Via Audio Damage:

"There are subtle plug-ins you put on the two-buss to give a nice gentle vibe to a track. Bitcom is not one of those. There is no "analog modeling" in this effect. There is no warmth or tube saturation. It is utterly devoid of anything to which the word "vintage" can be applied. Bitcom is a modern bit-shredding digital banshee that beggars description and lives on the edge of instability.

In a nutshell, a step sequencer drives a custom-designed bitcrusher, with a synth sidechain. But that sentence doesn't begin to describe the abuse that Bitcom is capable of. We pulled out every trick in the book to build a modern electronic music effect that can turn even the most sedate input in to a swinging, screaming pain-monkey, wreaking havoc on lesser sounds.

Bitcom requires OS X Intel 10.6.0 or later, or Windows XP SP 2 or later; the installers include both 32- and 64-bit versions.
Bitcom Features:
Bit Banging: Bitcom's bit engine is unique; each step has eight switches that (to simplify matters greatly) turn individual bits on and off. So all 8 switches on, and the output is pretty much like the input. Start turning them off and Strange Things Happen.

Synth Signal: Bitcom includes a simple monophonic synth that can either be always on, envelope driven, or controlled via MIDI. This is mixed with the input signal to create strange new sounds. Alternatively, Bitcom can be used without any input at all, as a moderately capable synth.

Sidechain: When using the VST3 version, the sidechain input can replace the synth section. This has the net effect of putting two input signals in to a meat grinder. Strange Things Ensue. Don't say we didn't warn you.

Sequencer: Bitcom's step sequencer syncs to the host DAW. The sequence can be of arbitrary length from 1 to 16 steps, and the sequencer has internal swing."

CV drum sequences

Published on May 27, 2015 Introvertmusic

"For a more enjoyable listening experience, use headphone or bass friendly speakers.

If you like my noises you can keep in touch and find more stuff here:
instagram.com/introvertmusic (Updated frequently)
https://introvertlouisville.bandcamp.com
Soundcloud.com/introvertmusic

This is just a patch I was messing around with that was pretty fun so I figured I'd record it. Sequencing was done using the Tiptop Audio Trigger Riot, Delptronics Triggerman, Make Noise Wogglebug V1, 4MS PEG and a few other things I'm probably forgetting. I was using an all eurorack setup with the addition of the Marsh UDS soviet era drum brain and a Roland RE-301 Space Echo. The space echo was processing a Make Noise Mysteron to add a bit more spacy dissonance. The Marsh UDS is providing the filter heavy chirp and click percussive sounds. The kick is from the Mutable Instruments Braids. Hexinverter Mutant Clap is providing some snare type sounds that were mixed in. Tiptop Audio SD808 is mixed in there making too. Additional drums were from the Microbe Modular Equation Composer. Bass line/melody was provided by a Harvestman Piston Honda MK1 run into a Make Noise Echophon into a Erbe Verb sequenced by a Audio Damage Sequencer 1.

Hope you enjoy"

Erica Synths Fusion Delay / Flanger / Vintage Ensemble

Published on Mar 14, 2017 Perfect Circuit Audio

"Running a bass synth sound through the Erica Synths Fusion Delay / Flanger / Vintage Ensemble. Audio Damage Sequencer 1 sequencing a bass sound made with the Roland 512 dual oscillator through the 521 VCF with envelopes and LFO from the Befaco Rampage. Using both the short and long delay chips and the built in LFO for chorus and vibrato modulation.

The Fusion Delay / Flanger / Vintage Ensemble is a tube delay with tons of character. It uses two BBD chips, one at 1024 and the other 4096 stages for short flange effects and longer delays. The tube is present to provide some overdrive in the delay output and the routed feeback for extra thickness.

Available here: https://www.perfectcircuitaudio.com/e..."

MATRIXSYNTH members get a %10 discount at Perfect Circuit Audio!