dual

Published on Sep 6, 2014 Benjamin Kinsman

"two instances of meadow physics running, one with teletype (synth & midi) via max msp w/128 grid with midi into eventide space w/midi into mutable instruments cvpal for varied gates as mp events trigger and the other on the aleph running the mpdrumss scene which is fed into a deeper a-119 and generating a gate on the kick which is acting as a master clock (fed into 4ms QCD for divisions)

braids in wtx4 mode into make noise optomix w/ envelope from topobillo/buchla dual func gen triggered from QCD, colour cv sequenced from make noise wogglebug into intellijel uscale 2, out into make noise echophon for some echo and pitch shifting

make noise dpo osc 1 tri & sine/osc 2 (sequenced from make noise pp/brains) sine & final into mutable frames with approx 30 keyframes scanned thru from pgh lfo2 with the frame step gate out striking final out on the dpo. into optomix with env from make noise maths ch 1triggered from QCD, stuck from cvpal gate via meadowphysics in max msp toggled on/off in malekko switch triggered by pgh lf02 sqr

harvestman hertz donut 2 osc 1 & fm bus sequenced from pp/brains out from osc 1/2 into make noise moddemix with complex dual env’s from maths (retiggered by itself)

teenage engineering xylophone sample arp played by endless sequencer into aux in of moddemix
all outs into two manhattan mix’s then out to pgh outs module into audio interface.
fin"

Warnung Koma

Published on Aug 31, 2018 Jurgen SONICrider

"Koma Warnung" is probably the best warning till now...

In a live studio session exploring some of the possibilities the Koma Elektron Fieldkits have in term of sounddesign, CV manipulation and controlling electronic devices.

Sound only: https://soundcloud.com/sonicrider/kom...

Used gear:
- Koma Fieldkit
- Koma Fieldkit FX
- Korg Arp Odyssey Module
- Reverslandfill Noise (to Fieldkit FX delay in)
- Reverslandfill Creep Cluster (to Fieldkit FX spring in)
- Patchblock (drone)
- Casette "Sirenensignale zur Warnung" (words)
- Mackie mixing console with Tiptop ZSP's (reverb & delay)
- iPhone scanned with electro pick up.

Patch (main approach):
- LFO Fieldkit controls trigger Arp, Motor DIY string, CV sequencer Fieldkit FX (via CV in 1) & radio search.
- Fieldkit: channel 1 (radio), 2 (LFO), 3 (DIY String), 4 (Aux send Mackie "words")
- Fieldkit: aux out to Fieldkit FX Freq Shift in = Bij using the aux switch per channel the sound flows into the Frequency Shifter.
- Fieldkit FX CV sequencer controlled by Fieldkit LFO into CV input 2 "purple" controlling "Freq Shift Amount", "Freq Shift Contorl", "Delay Time" & "Spring Cut Of")
- Fieldkit FX mixer in: 1 (Freq Shift), 2 (Delay), 3 (Spring), 4 (Electro pick up).

Aries AR-313 analog keyboard controller

via this auction
"Untested Aries AR-313 Analog Keyboard controller with documentation. It looks beautiful but no power source, Rare modular synth company from Massachutsetts. I don't see these too often.

CV Out
Trigger Out
Gate Out
Voice Out
Aux Voice Out

Trim
Trim
Pornamento"

Ultra Metric

Ultra Metric from Joseph Fraioli on Vimeo.

"A patch exploring three new modules, the SSF Ultra Random Analog, Qu-Bit Electronix RT60 and Macro Machines Storage Strip.

SSF Ultra Random Analog (URA):
The URA is the main clock source by way of random pulse output. the pulse density is being modulated via the Synth Tech e350 in LFO mode for more sporadic gestures and events. The Pulse out is also simultaneously dictating the pitch of the two sound sources - the Make Noise DPO and Cylonix Shapeshifter. Additionally, the sound source for metallic hi hat thats comes in mid way are from the URA as well. this is achieved by running an osc into a sample input (in this case a Hertz Donut MKII into sample input b) and outputting via the toggle output. This feature is very useful for creating analog bit crushed timbres as well as FMed analog bit crushing type sounds when using both sample inputs. for further sculpting, a synced and attenuated LFO (Modern Quad LFO) is going into the clock cv input which creates a filter of sorts to the hi hat sound. this is then put through the Flame FX6 reverb.

Qu-Bit Electronix RT60:
The RT60 is the main reverb source you can hear on the DPO LPG plucks in the patch, additionally it is the source of the flanger, chorus, pitch delay and tremolo whose parameters are being modulated by the Synth Tech e355. the presets are being stepped through via the SSF URA, with the same trigger that is sequencing the oscillators pitch. The RT60 has 7 sequence modes for switching between effects, in this patch i am using mode 1 (top to bottom)

Macro Machines Storage Strip:
Here i created 16 different presets for the Mungo d0 who's delay times are somewhat in tune with the overall piece. the presets are sequenced in random mode via the SSF URA random pulse output. various slew settings on the d0 causes interesting artifacts between delay settings when being sequenced.

Performance notes:
To create the effects throws and gated effects gestures i set up an aux/send system that i can control in the performance via make noise pressure points outputs. going straight into a VCA with the effect on the audio input for gated effects as well as instances with an envelope for one shots with decay trails. pressure amount also determines how the effects are performed - swells, volume etc.

Pressure Points pressure out channel 1 - DPO/Optomix through Qu-Bit RT60 as a gated effects send.
Pressure Points pressure out channel 2 - DPO/Optomix though the Modern Dual Delay as an effects send for throws.
Pressure Points pressure out channel 3 - Cyclonix Shapeshifter though the Mungo d0 and Macro Machines Storage Strip set up as a gated effects send.
Pressure Points pressure out channel 4 - Cylonix Shapeshifter though the Tiptop Zdsp set up as an effects send for throws.

Ambient melody is the Qu-Bit Electronix Nebulae playing an original piano recording in loop mode through the Make Noise Echophon and MMG."

via Joseph Fraioli on The MATRIXSYNTH Lounge

Llanberis

Llanberis from patchpoints on Vimeo.

"A live take - using only what you see in the video. Modules, drum machine and pedals.

Audio download - https://soundcloud.com/hadj/llanberis-patchpoints-modular-performance

For anyone who's interested, or new to modular, I hope the information below is helpful. I always got so much from reading other people's patch descriptions that I think it's only fair I put mine out there too.

Enjoy

-

Most of the modules are receiving some modulation from Make Noise WoggleBug and Xaoc Batumi in various ways.

First set of random sounds are being driven by Malekko Varigate clocking the René. VCO is the Endorphin.es Furthrrrr Generator and all waveforms are going into a Make Noise RxMx who's then feeding out to the MA35 VCF from Manhattan Analog.

Lead synth line is Noise Engineering Loquelic Iteritas running into WMD Aperture filter. WMD Mini Slew is being tweaked it goes into the WMD Amplitude. I'm running this line from the Stillson Hammer Mk2 by Industrial Music Electronics (The Harvestman) with the CV and Gate running into the Shakmat Modular - Bishops Miscellany that allows all the realtime sequencing fun.

Bassline is 3 synced AJH Mini Mod VCOs into the AJH VCF, Make Noise Maths is handling all the envelopes including filter. Runs out from there to the OTO Biscuit and back into the modular.

Pads are the 4xwavetable Mutable Instruments Braids sound. WoggleBug is slowly and randomly moving the clock on the Make Noise Pressure Points to change the chords. Sound is treated by TipTop ZDSP running the Valhalla Shimmer card and into the WMD Ultrafold to give it some drive later on. Then out of there into the Godbox Humpback VCF.

This all runs into the Intellijel DubMix and Expander where I've got the three Aux channels running out to a Moog MF-104M Delay, Strymon El Capistan delay and Eventide H9 (Spring setting) respectively.

Drums are all samples in the Rytm.

I think that's most of it. Lots of additional modulation by my hands. That's the point of course!"

Roland MC-202 with Kenton MIDI/CV Mods

via this auction

"Roland MC - 202 micro composer plus Kenton Electronics Pro solo midi - CV converter. This has been specially modified so you can automate all the settings (envelopes, modulation etc) from your computer if you wish. Sockets have been added to the sides of the unit. The internal sequencer has been disconnected. Very good condition, works perfectly, includes both power supplies, instructions and has only been used at home studio. Many records have been made using this amazing high spec modification. Ready to go! Modification details: . CV OUT envelope signal . SINE LFO sine wave . TRI LFO triangle wave CV IN . PITCH Pitch . GATE Gate . PWM Pulse width modulation . CUTOFF VCF cut off CV . VCA VCA CV . ACC Accent on/off . PORTA Portamento on/off . MOD Routes your CV signal to both MOD sliders AUDIO IN . VCF audio in to filter for external sound sources . VCA audio in to VCA . lfo out AUDIO OUT . SAW Saw . PULSE Pulse/Square . SUB1 -1oct Pro solo Adjustable pitchbend range . Portamento Controller is selectable . Programmable AUX 1 variable analogue output controllable by any MIDI controller i.e vcf filter . Programmable LFO - 9 wave shapes inc. random . LFO can modulate pitch &/or AUX output . Separate Controllers for LFO to CV and LFO to AUX . LFO can be synchronised to MIDI clock"

Yamaha SHS-10S Keytar Midi Controller Synth Keyboard

via this auction
"# Battery Cover # The Yamaha SHS-10 is a keytar (a musical keyboard that can be held like a guitar) manufactured by Yamaha. These instruments are now highly sought after for music production and stage performance. It has a small-sized keyboard with 32 minikeys and a pitch-bend wheel, an internal Frequency modulation (usually referred to as FM) synthesizer offering 25 different voices with 6-note polyphony, two operators, and a very basic chord sequencer. It also has a loudspeaker. It supports MIDI, having a MIDI Out connector which allows the keyboard to control external MIDI equipment. It does not have a MIDI In connector. It was manufactured in three colors: GREY, red, and black. Its demo is an arrangement of Wham!'s hit "Last Christmas." The Voices 00 Synthesizer 20 Violin 40 Flute 01 Jazz Organ 21 Cello 41 Oboe 02 Pipe Organ 22 Jazz Guitar 42 Harmonica 03 Piano 23 Rock Guitar 43 Whistle 04 Harpsichord 24 Wood Bass 44 Music Box 10 Electric Piano 30 Trumpet 11 Celesta 31 Trombone 12 Vibraphone 32 Horn 13 Marimba 33 Saxophone 14 Steel Drum 34 Clarinet The numbering scheme reflects the fact that the selection is done with buttons numbered 0-4 Technical Specifications * Polyphony 6 voices * Timbrality 4 Oscillator 2 operators * LFO none * Synthesis type * Digital Frequency modulation * Filter none * Attenuator 1 * Aftertouch none * Velocity sensitive none * Memory 25 patches * Input/output * Keyboard 32 mini-keys * External control MIDI OUT 1-16 * DC 9-12 Volt IN * Headphones/Aux Out * Digital"

Mixing 5U Modular Tech With Tape Delay & Ensoniq ASR-10 Sampler

Published on May 24, 2018 The Daydream Sound

"Adding tape delay to your setup is old school and it’s fun and unique. In this video we’ll combing vintage technology (Analog Tape & Ensoniq ASR-10) With a modern analog synth. Well I guess it’s definitely old tech as well. Do I even have a point here? Anyway watch the video. It’s great!

Video Timestamp
00:03 - Preamble.
00:43 - Demo begins.
01:04 - The two oscillators are being sent to its analog filter and modulated by the EG.
02:16 - Oscillator 2 modulates the pulse with of oscillator 1.
03:15 - Analog Tape Delay begins.

For those interested. Here follows the patch. The ASR-10 is driving the MIDI to the Modular system. Its audio is also being fed to the Instrument Interface of the modular. Moving on to the Synthesizers.com system. The two oscillators are being sent to its analog filter and modulated by the EG. Later on in the video you’ll see that I take one of the oscillator outputs of the second oscillator and use it to modulate the pulse with of the first oscillator. Lastly the both the dotcom system and the ASR-10 are sent to a Macke mixer. This is where the tape delay is being created. If you want to know how to create Tape Delay here’s the video:"

How To Create Analog Tape Delay Effects With A Reel To Reel Recorder

Published on Feb 9, 2017

"If you have a consumer grade Reel to Reel tape recorder lying around your studio there’s still a few things, you can do to integrate it into your studio. One of those things is analog Tape Delay. Tape Delay is an echo effect based on the principle of audio feedback. In this video we’ll go through the steps to turn your analog recorder into a productive member of your studio.

Here’s how:

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M-Audio Venom Review and Interview with Product Manager Taiho Yamada

A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

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Hertz Donut MKIII DEMO clean FM tones with melodic sequence

video upload by brandon logic

"Hertz Donut is the only sound source (two outputs).
Aux out on the HD is going through Rabid Elephant Natural Gate (opened quite a ways so its not doing much gating) then its going through the 4ms DLD for some delay. Aux is set to output operators A and B.
Main out going through TAKAAB 2LPG then through Happy Nerding FX Aid for some reverb.
Sequence from Mutable Marbles going into the main v/oct.
LFO's patched into fold and mod.
In the second half I plug another sequence into operator A and an LFO into operator B."

SoundHack tELHARMONIC Live in the Philippines - Subic Zambales

Published on Aug 16, 2015 kuxaan sum

"All sounds from the tELHARMONIC.

Harmonic Out to Optomix to Echophon to Rosie A input
Phase Modulation Out to Optomix to ModDemix
Noise Out to ModDemix
ModDemix Sum out to Rosie B input

ErbeVerb on aux send from Rosie.
Master clock and CV from Wogglebug."

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Vintage ARP8 Mixer - Model 1733

via this listing, in via Aaron Kwiatek.

This one was sent in via Aaron. Normally this wouldn't go up as it's not a synth, but I thought it was worth archiving. Via the listing:

"An interesting piece of ARP history, about 300 were made. Built in approximately 1980, an ARP eight channel analog console with a built in bucket brigade delay. This particular mixer may have been a prototype, or the prior owner decided to disable some of the aux functions. Stereo mix, the delay, and monitor mix work fine, but several jacks have have been removed (See new pictures). The 1/4 input on channel 2 is not taking signal, but its XLR is working fine. I opened the case up and they are still inside, some with jacks, some without. The board itself sounds surprisingly nice for its age. A little bit of crackle on a few of the knobs. I will include a DeOxit kit that I bought but only applied to the faders so far. The preamps sound quite nice to my ears.

Here's a little more detail for those of you that asked:

So, from what I can tell (no manual) the top jacks were additive into the various busses. So the far left "stacking" set, with "Cue Monitor Effects PGM Right, PGM Left" would have added into those busses. The remaining monitor jack does that, PGM L didn't seem to do much. The AUX 1 jack pictured does indeed work with the AUX one controls on the board, but I'm not sure which buss they come out of.

There was an effects in out that is completely unwired. I assume that would be additive to the delay channel?

The AUX Mono/left Mono/right (no jacks) I believe was also additive to the front control panel.

Also, noted, channel 2 1/4 input isn't working, but the XLR above it it.."

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Ambient & Chilled Live Jams by Lanthan O'Ide & the GFI System Specular Tempus

If you are curious what that little box is on the top left, it's the GFI System Specular Tempus. This is the first post to feature one. You'll find details on it further below.

Playlist:

1. Dawn In Antarctica - Ambient Synth Jam (Blofeld, Specular Tempus, Keystep)
2. On A Cold Day - Ambient Keys Jam (PSR-S700, Specular Tempus)
3. Snowfall In The Forest - Ambient / Berlin School Jam (Blofeld, QY100, Specular Tempus, Keystep)
4. Shores Of Svalbard - Ambient/Drone Jam (Blofeld, Specular Tempus, Keystep)
5. The Night Above The Clouds - Ambient Synth Jam (Blofeld, Specular Tempus, Keystep)
6. Southern Islands - Chillout Jam Session (QY100, G1Xon & Keystep)
7. Distant Thunder - Live Piano & Sequencer Jam (PSR-S700, Beatstep Pro)
8. Particles - Ambient / Berlin School Synth Jam (Blofeld, Specular Tempus, Beatstep Pro, Keystep)
9. Beneath the Surface - Ambient Synth Jam (Blofeld, Specular Tempus, Launchpad Pro)
10. Underwater Aurora - Ambient / Drone Synth Jam (Blofeld, Specular Tempus, Keystep)
11. Sailing between Worlds - Chilled Jam with Guitar & Synth feat. Thomas Riegl

Details on the GFI System Specular Tempus via GFI System:



"Specular Tempus is a powerful reverb and delay effect processor in a compact pedal. Featuring 32 hand-crafted algorithms, 32 presets. stereo in/out, tap-tempo, and extensive inter-connectivity. Using the SpecLab software (free download) users get access to an extended set of parameters for deep-editing of the algorithms.

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Introducing ADDA701 Voltage Controlled Oscillator

"Note: The hiss at the beginning and end of the video is due to the AGC (Automatic Gain Control) of my 550D camera that boosts the volume when doesn't detect sound. I'm connecting my mixer outputs to my camera through an attenuator cable i made that allows line inputs to be connected to the cannon's mic inputs without distorting the sound, although this does not disable the camera AGC: andregoncalves.info/ag_blog/?page_id=212"

Update:
"In the video you can see 3 ADDAC701 VCO's in action.
it starts with all three in rectangular waveforms with fast pwm modulation through the ADDAC502 Lissajous Curves.
ADDAC501 Complex Random in Quantized mode is used to generate the notes heard at a fixed speed.
The video goes through with all 3 VCO's in Saw waveform, then in Triangle and last with Sine Waveform.

A detailed description of the patch:

Audio Path:
All three ADDAC701 VCO's are connected to ADDAC801 Simple Mixer from their AUX OUT+
Second and third VCO's are also connected to the bottom oscilloscope of ADDAC205 Dual Oscilloscope from their AUX OUT- output.
The ADDAC801 Output is both connected to the sound system and to the top oscilloscope of ADDAC205 Dual Oscilloscope

Control Path:
Each of the 3 ADDAC501 Complex Random outputs is conneced to each VCO, controlling their frequency, ADDAC501 is in Quantized Mode.

3 outputs of the ADDAC502 Lissajous Curves are connected to the PWM of each VCO.

Modules Used:
addacsystem.com/product/addac200-series/addac205-dual-oscilloscope-awg
addacsystem.com/product/addac500-series/addac501-complex-random
addacsystem.com/product/addac500-series/addac502-lissajous-curves
addacsystem.com/product/addac700-series/addac701-vc-oscillator
addacsystem.com/product/addac800-series/addac801-simple-mixer

more info:
addacsystem.com"

Kenton Pro-2 dual midi CV converter

via this auction "The Pro-2's converter has two completely independent sections, A and B - these can control two separate synths on independent MIDI channels. Apart from basic Gate and CV (pitch) outputs, each section has two additional CV 'Aux' outputs; a common use is one for Filter Cutoff and one for Amplitude, although if your analogue synth is flexible enough they can control anything. Each section also has S-Trig outputs for you Moog owners :-) Usefully, the CV outs can be scaled to allow for out-of-tune analogue synths. Also present is: DIN sync output allowing you to sync up midi clock to old-school stuff like the Roland TR-808,TR-606,TB-303. Midi In,Out and Thru. Arpeggiator out - a simple clock out to sync up your synth's arpeggiator (Juno 6, etc?) - you can change the clock divide to suit. Also, and very rarely, this Pro-2 has a Kenton KADI output fitted and includes the super-rare lead too! To be honest I've never used the KADI output but I understand Kenton (and others?) can fit KADI inputs to drum machines like the TR-808, TR-606 and CR-78 - using this KADI equipped Pro-2 would allow you to play and program the (eg) TR-808's drum sounds from a midi keyboard. I have successfully used this Pro-2 with an Arp 2600, Odyssey, Minimoog, Jupiter 4, Jupiter 8, CR-78, etc."

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Black Spaghetti 1 - Live Modular Jam Session

Noise Engineering

"Jam on Markus's system: trying out some new patch techniques and seeing how techno tolerant my new neighbors are.

Voices:
Noise Engineering Loquelic Iteritas Percido + R*S Serge Resonant Equalizer + AJH Next Phase
Industrial Music Electronics Hertz Donut MKIII + Rabid Elephant Natural Gate

Percussion:
Noise Engineering Basimilus Iteritas Alter (kick)
Intellijel Plonk x2 (hats, low “tom”)
Erica Synths Sample Drum (clap)

Mixing/effects:
Erica Synths Drum Mixer (drum mix)
WMD Performance Mixer (melodic mix/master bus)
Retro Mechanical Labs Electron Fuzz Custom (drum aux)
SSF Autodyne (drum aux)
Happy Nerding 6x Mix (drum aux/melodic aux mix into DV)
Noise Engineering Desmodus Versio
WMD MSCL x2 (1x sidechain duck for voices and DV, 1x master bus compressor)
Cwejman MMF-1s (highpass filter for the master bus comp sidechain input so it doesn’t go crazy when any low end happens)

Sequencing/control:
SSF Muton (trig mutes)
Noise Engineering Confundo Funkitus (trig mutes+pattern switching)
Noise Engineering Lapsus Os (kick/tom/voice envelope length control)
XOR Nerdseq+More Triggers 16 (sequencing for all drums+voices)

Utilities:
Mutable Instruments Stages (trigger to gate for sidechain duck triggering)
Noise Engineering Extra Mullet (trig splitting)
Noise Engineering Sono Abitus (output)

Recording:
Clarett 2Pre USB, processed with iZotope Ozone"

Oberheim OB-12

via this auction

"The OB12 designed to recreate and emulate the classic sounds and tone of the original Oberheim analog filters. The OB-12 is a 12 voice synth with 4-part modelling synthesis. Loads of real-time knobs (22), sliders (24), and buttons (33) with a traditional layout give you fast hands-on access and control of most parameters. Extras include a ribbon controller, pitch bend and modulation wheel.
Aside from great analog sounds, the OB-12 has an amazing set of hi-tech features such as high quality LCD display that actually draws out all of the parameters you are changing. There are on board 5-band graphic & parametric EQ, ADSR's with delay time and double decay. An addictive Motion Recorder and manual or auto oscillator morphing for animated sounds or effects. Phrase Recorders and Arpeggiators with Independent tempo controls and 5 dedicated buttons are on-board with plenty of features and are MIDI syncable. There is also an extensive effects section that give you reverbs, delays, chorus and lots of overdrive algorithms. You'll also find digital SPDIF outputs, analog outputs, and MIDI in/out and thru.

Specifications
Keyboard: 49-key, w/velocity and aftertouch
Polyphony: 12 voices
Multitimbral parts: 4
Memory: 256 user programs
Oscillators: 2 per voice, 3 types: sawtooth, triangle, and square w/ WaveMix
Oscillator sync: Yes
Sequencer: No
External Sync: MIDI Clock
Filters: 2 resonant 24dB/octave filters; lowpass, bandpass, and highpass
Envelopes: 2 ADSR per voice
LFOs: 2 per voice: sawtooth, triangle,square, sample& hold
Ring mod: Yes
Arpeggiator: Yes
Effects: overdrive, chorus, delay, reverb, 5-band graphic/parametric EQ
MIDI: In, Out, Thru
Audio Outputs: 1/4" L/R main outs,1/4" aux 1&2 outs,1/4" headphones out,standard S-PDIF digitaloutput
Inputs: 2 expression pedal, 2 switch pedal
Accessories: standard ACpower cord
Dimensions: 36" (L) x 15" (W) x 3.5" (H)
Weight: 37 lbs."

BeatStep Pro controls Monolith + Modular Synth

Published on Jul 12, 2015 kuxaan sum

"BeatStep Pro Midi out to WMD/SSF Monolith
BeatStep Pro drives Pamela's workout via DIN out
BeatStep Pro Sequencer 1 driving Modular split into 3 different gated variations on main 1v/oct pitch driving the Monolith.
BeatStep Pro drives three drum gates:
1 to Noise Engineering Basimilus Iteritas (kick)
1 to ALM Dinky's Taiko (Snare)
1 to Strike input on RxMx (hi-hat'ish filtered seq) RxMx getting modulated by Maths/WoggleBug/Velocity out of Sequencer 1 on BeatStep Pro

No external effects:
Monolith patched to DPLR before main A/B out
Modular voice submix to dubmix with MakeNoise Erbe-Verb & Echophon + Modcan Dual Delay on Aux sends."

Analog Experiments 9 (Novation Circuit Mono Station thru Moog Ring Modulator)

Published on Nov 16, 2017 HardtekStudios

"In this chapter of 'Analog Experiments', I run the Novation Circuit Mono Station's audio out into the audio in of the Moog Moogerfooger Ring Modulator. Then the Mono Station's CV pitch out is routed into the Ring Mod's Frequency input. Finally, the Mono Station's Aux CV out is routed into the Mix CV in of the Ring Mod with the Mono Station's Velocity controlling the amount of wet/dry signal, but in negative. So the softer the Velocity the more Ring Mod signal is put out."

NAMM 2023 - Donner - D1 Drum Machine

video upload by sonicstate

Currently $0 at the Donner Website

"Donner has announced their latest product, the D1 sample-based drum machine and sequencer at NAMM 2023. Designed for the entry-level market, the 12-channel D1 features real-time recording and can switch between function keys to create drum patterns easily. It is equipped with RGB velocity-sensitive pads and five knobs with touch function, and will be shipped with factory content from Loopmasters.

Jake from Donner gave us a look at the prototype, with, full-size MIDI in and out, headphone output, and an auxiliary in that allows users to sample. Although the prototype has only half the functions working at the moment, Jake gave us a good idea of what the new product will have to offer.

The D1 will be released by the end of May 2023

Price: around 249 USD"



Blends two workflows into one little box

Color Coded UI Design, Play Without Thinking Twice

Vivid Graphical User Interface

Touch Knobs to Read Parameters

Versatile Sound Capabilities

Sounds and Patterns from Leading Experts

Import Your Samples to Add More Fun

Extend Your Setup with Versatile Connectivity

Maximum 128 Songs

4 Bars Step Sequencer (maximum 64 steps)

Maximum 512 Beats

128x64 pixel LCD screen

1 clickable endless encoder (VALUE)

5 endless encoders with touch function

2 potentiometers (MASTER FX & MASTER)

16 RGB backlit velocity-sensitive pads

4 RGB backlit faders

16 backlit tactile click buttons

HEADPHONE OUT

3.5mm(1/8") TRS

AUX IN

3.5mm (1/8") TRS

MIDI

2x 5 pins MIDI DIN (IN, OUT)

MAIN OUT

2x 6.35mm (1/4") TS

USB

USB 2.0 Type-C socket (transfer MIDI data and remote control via Donner Control App)

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