MATRIXSYNTH: Search results for Aux Out


Showing posts sorted by relevance for query Aux Out. Sort by date Show all posts
Showing posts sorted by relevance for query Aux Out. Sort by date Show all posts

Monday, March 25, 2024

Sonic Seed Trot & Hadouken


video uploads by Sonic Seed




Hadouken via Sonic Seed

S&H In S&H trig S&H out

S&H In 8, S&H Trig 9, and S&H Out 10 are a set of sampling and holding circuits. S&H In 8 inputs the signal that needs to be sampled,S&H Trig 9 inputs the Trig signal that samples the input of S&H In 8, and the sampling result is held until the next Trig signal triggers a new sampling, and the result is output at S&H Out 10. When S&H In 8 is not plugged in, the Trig signal of S&H Trig 9 samples the Noise Out of 2, resulting in a nearly random sampling result. The sampling-hold function can be triggered by pressing button 5 when the S&H Trig 9 has no insertion line.

Noise Trig & Noise Out

Noise Trig 1 and Noise Out 2 are part of the Noise generator, which continuously outputs a Noise without any input, which is the result of the sound amplified many times after the breakdown of the Zener tube. If a wire is inserted into the Noise Trig jack, the Zener tube will stop the breakdown state. At this time, give a signal, which can be Trig, square wave or any other signal, only if it is higher than 3.3v, it will again break through the Zener tube, constantly reciprocating, changing the output effect of the Noise Out.

Offset Out

Knob 3 changes the output voltage value of Ofset Out 4, when the button is pressed 5.Ofset Out 4 will output voltage according to the position of the knob, release the button, and the output is terminated.

Aux in & out

Aux In 6 and Aux Out 7 are a set of envelope non-tunable Vcas triggered by button 5. Aux In6 can be an audio input or other signal input, press button 5,Aux In6 input will be output from Aux Out 7 after adding an envelope control. Noise Out2's noise output is added to AuxIn 6 when AuxIn 6 is not plugged in. This means that you can directly control the noise output in Aux Out 7 by pressing button 5."

Sunday, October 05, 2008

Yamaha FVX-1 FM 8 op synthesizer module


via this auction, via dlmorley in the forum. "very rare programmable 8-operator FM synthesizer expander released in 1988 - 64 editable parameters - 22 direct + 42 with DOS based editor - DSP - 11 effect algorithms Stereo-Chorus, Stereo-Pan, Symphonic, Phaser, Flanger, Delay, Tremolo, Digital hall, Celeste and Wah. - 5 LED dsplays + levelmeter - 4 x 8 voice blocks (4 part multitimbral) - 248 ROM, 248 RAM presets, 16 performances - 2x MIDI IN (front and back), 2x MIDI OUT (front and back), MIDI THRU, Headphone OUT, Aux OUT Stereo, Main OUT Stereo, Main In Stereo Cinch, Main Out Stereo Cinch, Aux In Stereo Cinch, Aux Out Stereo Cinch, Pack Port - 14 Buttons + 1 Coarse, 4 endless controllers, 1 Main Out volume knob, 1 Aux Out volume knob, 1 headphone Out volume knob One of, if not THE best FM synth module. 8 operator FM. 4 separate synths each with 8 note polyphony I believe."

Friday, October 13, 2006

Yamaha FVX-1

Remember the FVX-1? Brian Comnes found an FVX-1 site with specs.



- very rare programmable 8-operator FM synthesizer expander released in 1988
- 64 editable parameters - 22 direct + 42 with DOS based editor
- DSP - 11 effect algorithms Stereo-Chorus, Stereo-Pan, Symphonic, Phaser, Flanger, Delay, Tremolo, Digital hall, Celeste and Wah.
- 5 LED dsplays + levelmeter
- 4 x 8 voice blocks (4 part multitimbral)
- 248 ROM, 248 RAM presets, 16 performances
- 2x MIDI IN (front and back), 2x MIDI OUT (front and back), MIDI THRU, Headphone OUT, Aux OUT Stereo, Main OUT Stereo, Main In Stereo Cinch, Main Out Stereo Cinch, Aux In Stereo Cinch, Aux Out Stereo Cinch, Pack Port
- 14 Buttons + 1 Coarse, 4 endless controllers, 1 Main Out volume knob, 1 Aux Out volume knob, 1 headphone Out volume knob

Monday, June 19, 2006

Yamaha FVX-1



8-Operator FM synthesizer that seems to use 12-bit D/A

More on the Yamaha FVX-1 in German and Google translated. Also on 120 Years: "YAMAHA used FM synthesis in their Electones, too. HX electones and FVX-1 module were 8-Operator FM synthesizer that seems to use 12-bit D/A, and it could have been the evolution of DX7 I series." Via Sequencer.de.

Update via Loscha in the comments:
Link to Manual, and "no-one ever mentioned this in the YamahaBlackBoxes group!!!"

Update: One more site sent my way via brian comnes: link

- very rare programmable 8-operator FM synthesizer expander released in 1988
- 64 editable parameters - 22 direct + 42 with DOS based editor
- DSP - 11 effect algorithms Stereo-Chorus, Stereo-Pan, Symphonic, Phaser, Flanger, Delay, Tremolo, Digital hall, Celeste and Wah.
- 5 LED dsplays + levelmeter
- 4 x 8 voice blocks (4 part multitimbral)
- 248 ROM, 248 RAM presets, 16 performances
- 2x MIDI IN (front and back), 2x MIDI OUT (front and back), MIDI THRU, Headphone OUT, Aux OUT Stereo, Main OUT Stereo, Main In Stereo Cinch, Main Out Stereo Cinch, Aux In Stereo Cinch, Aux Out Stereo Cinch, Pack Port
- 14 Buttons + 1 Coarse, 4 endless controllers, 1 Main Out volume knob, 1 Aux Out volume knob, 1 headphone Out volume knob

Monday, September 14, 2015

How to Setup iConnectivity's iConnectAUDIO4+ with an iPad as a Looper

I recently picked up an iConnectivity iConnectAUDIO4+ as an all-in-one audio and MIDI interface for my iPad in the studio. It was initially a bit tricky setting it up for my specific needs, so I thought a post might help others looking to do the same or similar. I had four primary goals:

1. I wanted to be able to use the interface in stand-alone mode without the need to hook up an iPad or computer.

2. I wanted a good audio interface for the iPad in the studio for playing synths on it.

3. I wanted to use the iPad as a dedicated looper running Loopy HD (and the option to use the iPad as an effects processor for my external hardware synths).

4. I wanted a solid MIDI interface for the iPad so I could control and sync apps with external gear.

All of this was possible separately with my Line 6 Sonic Port and a MIDI USB cable, but I got tired of swapping things out and I decided to dedicate the Sonic Port for video capture only. I wanted an all-in-one solution that allowed me to configure things once, and just have it work for most scenarios I might need in the studio. Size was also a consideration. You can see my Moog Minitaur sitting on top of the iConnectAUDIO4+. It's a perfect fit!

The iConnectAUDIO4+ is an extremely flexible device, but with that flexibility comes a bit of complexity. The device is pre-configured out of the box to work with a DAW setup, and to even get audio out of the box you have to have a DAW or USB device like the iPad connected to route the audio out. You also need to adjust audio levels on the device itself which can be a little tricky. See the using the touch panel tutorial here.

Here's how I wanted things configured (you can find my adjusted template/s here but be sure to back yours up first!):

1. Main mixer AUX out to effects to iConnectAUDIO4+ then back into my main mixer AUX in.
2. iPad connected to iConnectAUDIO4+ via USB audio in the middle of the chain.
3. iPad connected to iConnectAUDIO4+ via USB MIDI to receive MIDI clock and notes via iConnectAUDIO4+ MIDI DIN In for internal apps.
4. iPad connected to iConnectAUDIO4+ via USB MIDI to send MIDI clock and notes via iConnectAUDIO4+ MIDI DIN Out for external gear.

Aside from watching out for MIDI loops, MIDI routing out of the box worked as expected. Audio, however, was a bit tricky.

If you look at the image to the left from iConnectivity's website you will see a row of input sections on the top (USB1, USB2, Analog, and Analog Mixer), each with their individual audio ins underneath. On the far right you will see a column of matching sections. These are your audio outs. The points you see are the patch points between the two. You can essentially configure any input to go to any output, but there is one caveat - you cannot have more than one input going to one output. You can, however, have an individual input in going into multiple outputs as you can see. Note that none of the analog ins are routed to the analog outs. Instead they are routed to USB outs only. What that means is you have to have a USB device connected and turned on to hear anything. Out of the box iConnectAUDIO4+ will not work in stand-alone mode.

To the left is a screenshot of how I configured the routing to meet my needs. You can see I patched iCA4 USB D1 (my iPad) into iCA4 Analog I/O Mixer channels 1 and 2. I then have my Analog inputs 3 and 4 (as pictured in the top image of this post) patched into both iCA4 USB D1 (iPad) channels 1 & 2 as well as iCA4 Analog I/O Mixer channels 3 and 4. I left all channels of iCA4 Analog I/O Mixer going to the analog outs. Simple, but believe me, along with setting the the audio mixer levels and forgetting to save to the device, it took a bit of trial and error.

For the mix levels be sure to watch the "Using iconfig Mix Buses" video here. Also, I found that double clicking the bottom level slider "cap" for each bus brought the level to 0 db which seemed to work fine for me. Just remember, you have to adjust the levels via the using the touch panel tutorial here as well. The tricky part is you can set the level for each line in, followed by each line out, followed by overall level in and overall level out. At first it seems overly complex but then when you realize the level of control you have you can appreciate it.

The most important thing to remember is that once you have everything set, you have to save your settings on the device itself or they will be lost the next time you turn it on! You'll want to save both via File / Save Preset and via Device / Save Current Settings. Again, you can find my templates here. Note there are two files, a 1.ica4 file and a 1.ica4.aux file. You load the 1.ica4 file from within iConnectivity iConfig, Open / File Preset. Remember to back up your settings first and remember to adjust the levels after.

Also, I found my iPad would sometimes not recognize the iConnectAUDIO4+. I'm not sure why that was, but unplugging and replugging the iConnectAUDIO4+ power cable seemed to solve the problem. I would disconnect the iPad first just to be safe. I don't want to risk blowing out my iPad with an inadvertent power surge. Regarding MIDI, I found certain apps seemed to sync better than others for whatever reason. Loopy HD synced like a champ and was my go to app for testing sync on the iPad.

Anyway, I hope this post helps others looking to do the same. Note my template is a minimal configuration specifically set for using the iPad as described in this post. There are patch points for USB D2 for the laptop or second iOS device as well, but they are there for future use. My template can be seen as a starting point. The levels are configured for my studio, so they might need adjustment in yours.

iConnectAUDIO4+s on eBay

Friday, October 04, 2019

Critter & Guitari - Distributor Rec for Organelle


Published on Oct 4, 2019 Critter & Guitari

"Record samples, slice them up on the fly, and weave them across time with other sample slices all while arpeggiating and looping them!

Distributor Rec is an improvement of the original Distributor patch. This patch has three main functions: 1. Records an audio sample to each key; 2. Slices up those samples and arpeggiates them; 3. Interweaves slices from one sample with other sample slices as you play keyboard (or the sequencer).

WHAT IS THIS PATCH?
It is an improvement of the original Distributor patch. This patch has three main functions: 1. Records an audio sample to each key; 2. Slices up those samples and arpeggiates them; 3. Interweaves slices from one sample with other sample slices as you play keyboard (or the sequencer).

Sunday, December 06, 2015

Micro Arp 2600 Clone Broadwave u2K6 Hand Built Modular Synth

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

via this auction

via the seller: "For Sale is an ARP 2600 Clone known as a BroadWAVE u2K6 hand built by Andy @ Broadwave & I purchased it from him.

Below is the original info from Andy when I purchase it:

Up for Auction is a handbuilt BroadWAVE u2K6 (Micro ARP 2600). It is a one-off unit made as a pre-production to an ARP 2600 clone that I have recently completed.

Please note that you will require a MIDI to CV converter to use this synth.


It's built into a Tolexed 19" 6U cabinet with strap handle... as yet, I have no idea how to pack this for the courier - don't be surprised it it turns up in a suitcase.

Almost all of the internal circuits are copied directly from the ARP 2600 - the exception being the VCF, LFO and Dual AR envelope generators which are direct copies from the ARP Odyssey.

Monday, August 19, 2013

Broadwave U2K6 Modular Synthesizer

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

via this auction

"Up for Auction is my self built BroadWAVE u2K6 (Micro ARP 2600). It is a one-off unit made as a pre-production to an ARP 2600 clone that I have recently completed.

I have set a reserve price at £500 to cover the cost of the initial build and the auction will run to the end - I'm afraid offers will be ignored and returns are not accepted.

Please note that you will require a MIDI to CV converter to use this synth.

It's built into a Tolexed 19" 6U cabinet with strap handle... as yet, I have no idea how to pack this for the courier - don't be surprised it it turns up in a suitcase.

Almost all of the internal circuits are copied directly from the ARP 2600 - the exception being the VCF, LFO and Dual AR envelope generators which are direct copies from the ARP Odyssey.

What does it have that the 2600 doesn't? - A Master CV section (tune all VCO's at once) with 2 FM inputs and Glide, 3 Full 2600 VCO's with sync (sync circuit taken from the ARP Odyssey), and additional AR envelope generator and an LFO with square and sine outputs (tied to the S&H clock frequency), extra multiples.

What's missing? - The 2600 reverb/mixer section and additional FM inputs on the VCO's (sadly, space did not permit these)

The VCF is the 4035 "Moog Infringement" filter from the Odyssey MkII. There is no intrinsic difference between this and the original 4012 VCF from the early 2600 - just a difference in input/output levels... it sounds great : )"

Module and tech details at the auction and captured below.

Thursday, November 21, 2019

BEHRINGER CRAVE - live jam / replicants can dream


Published on Nov 21, 2019 Aux Out

Aux Out Crave videos

"Fifth live jam with my new Behringer Crave synths. This time i used Midi to do a real track.
You can buy my music and support me here: http://aux-out.bandcamp.com
Please subscribe if you like it. I will do more videos.

The upper synth plays the melody. The lower one plays the bass.

I used this software:
Ableton Live
Valhalla Shimmer
TAL Chorus LX
Unfiltered Audio Sandman Pro
FabFilter Pro-L"

Friday, December 13, 2019

BEHRINGER CRAVE - live jam / electric snow


Published on Dec 13, 2019 Aux Out

New demo from supporting member, Aux Out. You can find more here.

"8th live jam with my new Behringer Crave synths. A nice and slow track.
You can buy my music and support me here: http://aux-out.bandcamp.com

The upper synth plays the rhythmic lead. The lower one plays the pad.

I used this software:
Ableton Live
Valhalla Shimmer
TAL Chorus LX
Unfiltered Audio Sandman Pro
FabFilter Pro-C
FabFilter Pro-L"

Tuesday, December 06, 2022

Mutable Instruments Plaits Update Adds 6-Op FM Model, String Machine, Wave Terrain Synthesis + More



via Mutable Instruments

"I’m releasing this firmware update with a couple of things I kept under my hat throughout 2021 and 2022 just in case the clones/competition would start being a problem (as you can see, it wasn’t really necessary).

Fixed a spurious retriggering of the internal envelope when entering/leaving the speech synthesis model.

Reduced the amount of software filtering on the TIMBRE and MORPH knobs, to increase their responsiveness.

Reduced the amount of hysteresis in the quantizer responsible for converting a voltage into discrete settings (for example, for model selection with the MODEL CV input, or chord selection with the HARMONICS knob and CV input). This makes the relationship between a voltage and a specific setting more consistent when controlled by a sequencer.

The filters used for band-limited wavetable synthesis have been improved, eliminating the amplitude drop observed for the highest notes.

The frequency range selector has a new mode: octaves. In this mode, the right button and FREQUENCY knob combo adjusts the root note, then the FREQUENCY knob transposes this root note up or down. Pressing both buttons simultaneously for a short time enables or disables an alternative way of selecting a synthesis model: the first button selects the previous model, the second button the next one.

This new -/+ control scheme gives access to an orange bank of synthesis models for pitched sounds.

1 Classic waveshapes with filter (HARMO: resonance and filter character - gentle 24dB/octave CCW, harsh 12dB/octave CW, TIMBRE: filter cutoff, MORPH: waveform and sub level, OUT: LP output, AUX: 12dB/octave HP output)

2 Phase distortion and modulation (HARMO: distortion frequency, TIMBRE: distortion amount, MORPH: distortion asymmetry, OUT: carrier is sync’ed (phase distortion), AUX: carrier is free-running (phase modulation)).

3, 4, 5 2-voice, 6-operator FM synth with 32 presets (HARMO: preset selection, TIMBRE: modulator(s) level, MORPH: envelope and modulation stretching/time-travel). The two voices are alternatively triggered whenever a trigger is received on the TRIG input. When the TRIG input is not patched, a single voice plays as a drone, and the MORPH knob allows time-travel along the envelopes and modulations. The LEVEL input is repurposed as a velocity control - controlling loudness or timbre depending on how each preset is programmed. Each model corresponds to a different bank of 32 presets among basses/synths, keyboards/plucked strings/percussions, organs/pads/strings/brass.

6 Wave terrain synthesis with continuous interpolation between eight 2D terrains (HARMO: terrain, TIMBRE: path radius, MORPH: path offset, OUT: Direct terrain height (z), AUX: Terrain height interpreted as phase distortion (sin(y+z)).

7 String machine emulation with stereo filter and chorus (HARMO: chord, TIMBRE: chorus/filter amount, MORPH: waveform, OUT: voices 1&3 predominantly, AUX: voices 2&4 predominantly).

8 Four variable square voices for chords or arpeggios (HARMO: chord, TIMBRE: arpeggio type or chord inversion, MORPH: PW/Sync, OUT: square wave voices, AUX: NES triangle voice, TIMBRE attenuverter: envelope shape). Plug a trigger input to clock the arpeggiator.

The module can receive audio data on its TIMBRE input to load custom data into a synthesis model (only one synthesis model can be altered at a time). This new feature is available for the following models:

6-operator FM: transfer of 32 custom patches in DX7 SysEx format. They will replace one of the built-in banks.

Wave terrain synthesis: transfer of a custom wave terrain.

Wavetable synthesis: transfer of 15 custom waveforms and customization of bank 4’s wave map."

Tuesday, February 02, 2021

Noise Engineering Blog: Using aux sends: Reverb | Distortion | Compression


video by Noise Engineering

"From the blog: https://www.noiseengineering.us/blog/...
Here, we’re using the Desmodus Versio in the aux loop of the WMD Performance Mixer post fader. Note that the Blend control is fully clockwise: since our dry signal is already present in our mixer, we don’t need any more of it in our aux loop. Also note that since the send and return loop of the mixer is mono, but the DV can work as a mono-to-stereo device, we’re using the normal aux out but coming back into a stereo channel. It works and sounds exactly the same as using an aux return, it just gives us more stereo loveliness!"

Blog: Using aux sends: Distortion


"From the blog: https://www.noiseengineering.us/blog/...
Here, we have the Seca Ruina in the aux loop of the WMD Performance Mixer processing a distinctly unfriendly patch. Who doesn’t love some hardcore every once in a while, though? This is a really fun way to patch if you’re in the mood for something incredibly distorted and messy as you get some really interesting interactions from multiple signals running through the single distortion circuit."

Blog: Using aux sends: Compression


"If you’ve been reading the blog for a while you may remember our post on compression. We talked a bit about parallel compression in that post, and wouldn’t you know it, you can do some fantastic parallel compression routings with aux loops, too. Here, we have a percussion patch running through our mixer, and we have a compressor in the aux loop. The compressor has very aggressive settings, but since it’s also mixed with the uncompressed copy, it sounds nice and balanced."

Sunday, March 18, 2018

Roland TR8S Timing Issues Moving 5 Or More Faders at Once?

PROBLÈMES D'AMOUR Well, not everything is immediately perfect. Great love and solid partnerships require dialog and compromise and devotion. Hard to come by these days, but let's talk about the down side of the TR-8S firmware 1.02 1. CONTROLLER LIMITATION Moving 5 or more faders at once will produce a timing stumble. Here I demonstrate that this is not the case with 1, 2, 3 or 4 rugged fader moves at once, but when we get to 5 at the same time it stumbles and can't do it. I don't know if this is a firmware issue or a limitation of the CPU, but I've really got my toes crossed for a firmware fix for this. 2. AUXILIARY TRIGGER WEIRDNESS In the second clip of this set I demonstrate that the dedicated trigger out works perfectly. No problems. In the last clip I have assigned outputs 1-4 to be triggers, and then assigned tracks 2-5 to operate as triggers (output set to aux 1-4) Theoretically then, whatever is programmed on track 2 should come out as a pattern of triggers from output 1. As you can see this is inconsistent and unreliable. Again, I don't know if this is firmware or hardware, but I have my toes crossed that this is something that a firmware update will set straight. The trigger out works great, but there's something still not quite right about the triggers which come out of the assignable outputs. Could be the length of the trigger. Or possibly the voltage. I haven't measured the output so I don't know. I've communicated with Roland about this, and while I doubt they'll take me up on my offer to help, I am positive their engineers are capable and will solve these hassles fast. I'm posting this to be a part of of the general dialog about pluses and minuses and issues as well as excitement around the TR-8S. It's a really lovely machine and I've got faith that these details will soon be sorted. #Roland #TR8S #rolandaira #problemesdamour
A post shared by Sunshine Jones (@sunshine_jones_) on


Anyone else seeing this?

Update: and another video from Sunshine Jones

Tuesday, December 13, 2016

KOMA's Field Kit launched on Kickstarter!



"After a year of development, testing and prototyping, KOMA Elektronik is proud to present the latest addition to the KOMA family: the KOMA Elektronik Field Kit! On Kickstarter now! The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!

The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage. The Field Kit boasts 7 separate functional blocks all focussed on receiving or generating all types of signals. They are designed to operate together as a coherent electroacoustic workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals:

Four Channel Mixer
Envelope Follower
DC Interface
Analog Switch Interface
Analog Sensor Interface
AM/FM/SW Radio
Low Frequency Oscillator
You can easily interface the Field Kit with a Eurorack modular system. At the backside of the PCB you will find a power connector you can use to power the unit from your system. The total panel width is 36HP. You can buy the Field Kit as a finished unit or build one yourself with the DIY Version."



"All audio has been recorded straight from the Field Kit, using a DC Motor, Solenoid Motor, a DC powered fan, Roland TR-8 and Berlin's local radio station Antenne Brandenburg as audio sources."


Additional details via Kickstarter.

"The KOMA Field Kit

The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electroacoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!

The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage!

We have finished development of the Field Kit, are ready for production and we need your support to make it happen!

[Pictured:] The final Field Kit prototype, ready for production!

It's all about the things you connect to the The Field Kit! To get you started we decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds.

Tuesday, March 12, 2013

Kenton MODULAR SOLO High Specification Eurorack MIDI to CV converter

Note: Auction links are affiliate links for which the site may be compensated. via this auction
analoglsd (RSS)

"The Modular Solo is supplied complete with ribbon cable ready to fit into any Eurorack (A100) format modular system.

Power is supplied by the power supply in the modular case via the backplane
Power consumption +12V supply 85mA max / −12V supply 3mA
+5v supply is not required (needs +/−12V only)
CV & Gate signals can be sent via the ribbon cable to the system bus - selected using jumpers
MIDI In & Out on DIN sockets (MIDI Out can be switched to give DIN Sync 24 instead)
Analogue output CV on 3.5mm mono jack (V/oct or Hz/V or 1.2V/oct)
Gate on 3.5mm mono jack (Gate or S-trig – with or without pullups)
Aux1,2,3,4 on 3.5mm mono jack (all continuously variable)
2x independent clock outs on 3.5mm mono jack
Weight 170g
Dimensions 128mm high x 50mm wide x 80mm deep
D to A conversion for main CV 16 bit high quality / low drift DAC
Non-volatile memory EEPROM (no back-up battery required)
Processor 32 bit ARM processor

Designed to control all types of mono-synth
Super-fast response time
Famous Kenton build quality
High specification 16 bit D/A converter for main CV for rock-steady pitches
CV/Gate/Aux/Clock outputs on 3.5mm mono jack sockets (3.5mm to 1/4" cables are available in our cables section)
CV & Gate signals can be sent via the ribbon cable to the system bus - selected using jumpers
MIDI IN socket (5 pin DIN)
MIDI OUT/THRU (5 pin DIN) socket can be switched to become DIN Sync 24 instead
Any MIDI channel can be selected
Switchable for V/oct & Hz/V & 1.2V/oct scaling systems
Fine tune & scale are software controllable
Transpose (coarse tune) - up & down 12 semitones
Adjustable pitchbend range - up to 12 semitones
Programmable Gate V-trig (up to 10V) or S-trig (with or without pull-up)
Multiple and single trigger modes
Note priority selection - newest / lowest / highest
Old notes are remembered to facilitate trill effects and increase playability

Sunday, April 30, 2017

GRP Redesigns Website Including Details on New Eurorack Modules


This one is in via John L Rice. GRP has a new website! Their new site includes details on their latest eurorack modules announced at this year's Superbooth. The following is a quick capture of the individual modules for the archives.

"The Grp Synthesizer products are completely hand-assembled and are the link between technology and handcraft, worthy heirs of lute players translated into modern technology. It is important for us to keep constant, in the long run, the sound and designs characteristics so to render unique the Grp Synthesizer and to maintain high quality, also for the future entry level models. The Firm philosophy aims at projecting this engagements in the business so as to guarantee the maximum satisfaction to the client."

Saturday, March 02, 2024

Sixty Four Pixels Noodlebox Desktop Hardware Sequencer

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


via this auction

Additional SYNTH CITY Listings

You can find demos of the Noodlebox in previous posts here.

"Tested in great working condition, super fun sequencer! Includes AC power supply.

Noodlebox is a four part sequencer for making electronic music. It has analog CV/Gate outputs for each part and supports MIDI.

There are independent sequencer layers, each with a CV/Gate output. Each layer runs separately to the others (although staying in sync) and has its own step count, clock division etc.

Each layer has four pages of up to 32 steps each. Pages can be used for A/B/C/D type pattern variations, for verse/chorus type song sections or chained to make a single pattern of up to 128 steps. You can cue up lists of pages for automatic cycling (up to 32 pages). Arranging pages is designed to be quick and easy to do creatively in a live setting.

Friday, January 10, 2020

Critter & Guitari - Tapey for Organelle


Published on Jan 10, 2020 Critter & Guitari

"New patch for the Organelle! https://www.critterandguitari.com/org..."

"Recorded samples are pitched across they keyboard. Sample playback emulates a tape player with pitch & speed warble and ramping start and stop speeds.

Tapey records a sample up to 30 seconds long. The sample can be played by any key. The sample pitch is relative to the key's note. There are playback controls that emulate a tape player's ramping up to speed (and down from it) and warble. After sample is recorded, create and store sequences.

Tuesday, October 03, 2017

Electronic Jams by lostsystems1


Published on Oct 2, 2017 lostsystems1

Spotted this one on discchord.

Playlist:
1. Channel Intro

2. "Diper lord" - Novation Peak, Elektron Digitakt, Rytm, A4, Op-1, Monologue, KaossPad, Mother 32
I've swapped the DSI Pro2 for the Novation Peak. Really loving the sound of it, but barely scratching the surface so far. Also added the push to the mix, to be able to play the peak. The idea is to jam the peak on the push, and then later let the digitakt control it, but i've yet to reconnect everything with the midi thru box i recently got. Maybe for the next one ! Just wanted to get this out the door, enjoy !

3. "Purse Whisperer" - Dsi Pro2, Elektron Digitakt, Rytm, A4, Op-1, Korg Monologue, KaossPad, Mother 32
Not really sure what is going on here, but i like it.

4. "Crude Mint" - Dsi Pro2, Elektron Digitakt, Rytm, A4, Op-1, Korg Monologue, KaossPad, Mother 32
I always feel like a straight kick is an easy way out, sometimes though it just works.
SHOW MORE

5. "Kids on Bikes" - Dsi Pro2, Elektron Digitakt, Rytm, A4, Op-1, Korg Monologue, KaossPad, Mother 32
Finally got around to making the Digitakt control both the monologue and the DSI Pro2, the monlogue also controls the mother-32. Enjoy !

6. "New friends" - Dsi Pro2, Elektron Digitakt, Rytm, A4, Op-1, Korg Monologue, KaossPad, Mother 32
Getting a bit of BOC vibe on this one :)

7. "Scrap Overhead" Dsi Pro2, Elektron Digitakt, Rytm, A4, Op-1, Korg Monologue, KaossPad, Mother 32

8. "Our peril" Dsi Pro2, Elektron Digitakt, Rytm, A4, Op-1, Korg Monologue, KaossPad, Mother 32
Trying out the DSI Pro2 and Kaosspad KP3+ in my setup.

9. "Empty Yesterdays" Elektron Digitakt, Rytm, A4, Op-1, Mother 32, KORG monologue
Trying out the DIGITAKT in my setup, clock is sent via USB from my main imac (Ableton) to analog4, which then controls the rytm through midi out. The rytm midi thru, goes to mother32. The op-1 gets the clock from my second mac via usb, which in its turn gets the clock via Abeton Link, and so does the ipad with the elastic drums ipad app. Digitakt also gets the clock from the USB of the macbook, and is controlling the monologue program changes and CC messages through midi out, as well as playing a few samples. Everything goes through the soundcraft spririt studio 24ch mixer, SPL Dynamaxx & Charsima. with TLA Ivory2 EQ on the master, and Line6 POD XT pro as an aux send for the mixer. Recorded with gopro session. (Yes i need to get a better camera and lighting conditions)

10. "Unpredictible nest", KORG monologue, Elektron Analog Rytm, Analog 4, Mother 32, Op-1
Trying out the KORG monologue in my setup, clock is sent via USB from my main imac (Ableton) to analog4, which then controls the rytm through midi out. The rytm midi thru, goes to mother32, the op-1and monologue get their clock from my second mac via usb, which in its turn gets the clock via Abeton Link, and so does the ipad with the elastic drums app. Everything goes through the soundcraft spririt studio 24ch mixer, SPL Dynamaxx & Charsima. with TLA Ivory2 EQ on the master, and Line6 POD XT pro as an aux send for the mixer. Recorded with gopro session.

Tuesday, April 16, 2019

GRP A4 [NOISEBUG] USED

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

via this auction

"The Grp Synthesizer was developed to offer the enthusiasts of analogical sound a more affordable synth in terms of price and dimension in comparison with the precursor model A8, without renouncing to the quality and performance that characterize our synths. Being featured with the same step sequencer used for the Grp A8, this synth is able to guarantee nearly infinite sound combinations due to the new characteristics which have been implemented in the instrument, with the possibility to filter out external signals and to manage all the important parameters of the analogical generation chain.

The A4 has been derived from an audio section of the Grp A8 (of which it takes over the structure) and it results more versatile and eclectic passing from smooth and extreme clean sonorities to harder sounds thanks to the two distortion installed in the synth (one for each filter) and due to the possibility to make interact synth, ring modulator, external signals and step sequencer in only on mechanism with an immense sonority power. Furthermore, the Loop EG function enables the conditioned and unconditioned repetition of the envelope, in order to reach particular and temporal articulated sonorities."

NEXT PAGE HOME


Patch n Tweak
Switched On Make Synthesizer Evolution Vintage Synthesizers Creating Sound Fundlementals of Synthesizer Programming Kraftwerk

© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH