"This bundle includes the Ensoniq EPS keyboard itself, the System Expander, which doubles the operating memory, a power cord, several pieces of literature, and an entire sample library of floppy drives.
If you are looking for something unlike anything they make today, you need to check out this beast. It’s a strange monster, boasting 13 bit sampling technology and archaic features, such as loading the operating system from a floppy drive each time you turn it on! The audio input allows for custom sound sampling, and the on board sample editor is surprisingly easy to use. I got this to make sounds unlike anything else, and it certainly does just that.
Aside from being so unique, the utility of this sampler in the modern studio cannot be overlooked. A light but solid and balanced keybed may be the fastest you will ever play. The audio input, used for sampling, can double as an audio thru if needed. It also fits perfectly in an aux or fx loop, and it might serve you well to get some extra floppy drives and build your own sample library right off your mixing desk or audio interface."
"I'm just noodling with Karplus-Strong synthesis on my Pro 3, using a tiny pluck of noise as an exciter to get the tuned feedback circuit started. Basically everything in this example is coming from the feedback, to demonstrate its expressiveness and range while it self-oscillates and evolves. None of the oscillators were used at all; they're completely off.
Apologies for my sloppy, aimless playing. I mostly just wanted to demonstrate the variety of timbres and textures which can be created this way. I'm barely even doing anything; most of the expressiveness comes out on its own just based on how the patch is played.
Sometimes it sounds like an acoustic guitar. Sometimes it sounds like a cello being bowed. Sometimes it's a big angry growl. Sometimes it's a searing lead. Sometimes just a soft hum. All from a single, surprisingly simple, patch.
To tweak the sound, I mostly just play legato or not, to control when a fresh "pluck" happens versus just adjusting the tuning of the feedback circuit. I also used the mod wheel sometimes to add distortion, used the pitch bend wheel occasionally to dampen and detune the feedback, and occasionally bumped the feedback amount up or down by a single notch to control whether sustained notes would slowly build or slowly fade. Oh, and aftertouch for pitch-linked vibrato.
The feedback seems to be quite temperature sensitive, so the amount must be tweaked a bit each time it's used, and the sound isn't ever quite the same. So I recorded and uploaded the first improvised take, with no attempts to correct anything.
Audio is straight out of the Pro 3, dry. This is what it sounds like without any processing.
To make a patch like this, basically just start with an init patch, turn off the oscillators, route a plucky aux envelope to the noise level, and turn on tuned feedback (amount = ~62 to ~64, tuning = 24). The rest is just performance conveniences, like the mod wheel, aftertouch, pitch wheel... and some delay."
* Pure Analogue signal path designed by Future Sound Systems * Pure VCOs * 19 Outputs and 19 Inputs for 3.5mm mono jack cable patching * Normalised signal path for immediate sound Malevolence * Additional rear panel line out * Additional headphone out
* 2 Voltage Controlled Oscillators * Saw / Triangle / Pulse outputs plus Mix for each oscillator * 1V/Oct pitch control input * Shape control / pulse width modulation input * 2x Frequency Modulation inputs * Coarse / Fine tune control * Shape mod amount control * FM1 and 2 mod amount controls * Shape control * Selectable waveforms for the mix output * Individual osc level control
* LFO (Low Frequency Oscillator) * Triangle / Square wave outputs * Rate control
* 2x Envelopes * Individual ADSR controls for each envelope * Individual gate inputs * Individual envelope outputs
* Multi-mode 2 pole VCF (Voltage Controlled Filter) * Low pass / Band pass / High Pass individual inputs * 2x Frequency Modulation inputs with amount controls * Filter cutoff * Filter resonance
* Mixer * Noise w/level control * Aux input w/level control
* VCA (Voltage Controlled Amplifier) with overdrive control
* Compatible with Eurorack standard 1V/Oct gear
* Monophonic and patchable allowing individual pitch control of each VCO and gate control of each envelope
* USB bus-powered
* MIDI In / Out
* Headphone out
* Line out
* Analogue clock in & out
* USB-MIDI to 1V/Oct CV & gate conversion * All pitch and gate control is fully analogue * Analogue clock In / Out
* Multi-function Joystick control * Left / right for pitch bend * Performable portamento * Performable vibrato * This is in addition to the analogue LFO * Latching hold mode
* Arpeggiator * 6 arpeggiator types * Up, Down, Up/Down 1, Up/Down 2, Played & Random * Auto clock sync * Detects analogue / MIDI or USB-MIDI clock and synchronises the arpeggiator automatically * Selectable sync rates when clock detected * Rate / sync control * Latch * 6 Octave range * Analogue / MIDI / USB-MIDI Clock output when arpeggiator is running
* Keyboard Control * 32 Velocity-sensitive mini-keys * Octave shift +/- 4 octaves * Pitch output * Velocity output * Gate output * Local Off mode for DAW use Includes: * 5 Patch cables * Power Supply (9V 600mA) * USB C lead * Getting Started Guide Pricing MSRP: * UK: £499.99 inc. VAT * Europe: €579.99 inc. VAT
"Here is the brandnew Waldorf M Wavetable Synthesizer with analog filters and stereo VCA and much more to explore..."
"Sound demo for our brandnew Waldorf M Wavetable Synthesizer - no external effects and processing was used."
Waldorf M - Wavetable Synthesizer - Live Looping Ambient Session
video upload by
"This is the Waldorf M - Wavetable Synthesizer. In this track I used Ableton to live-loop four patches.
I will release more videos with the M, if you have any questions or want me to show a feature of the synth please let me know in the comments.
It is an honor to be part of the Waldorf beta testing team, I have been working with the synth for the last months and am very happy to finally show you what I have been doing with it. The factory library contains some of my own sounds, watch out for "MSt" when you test it at a shop or at home!"
"With M, we are musically returning to our roots by bringing back classic Microwave and ‘modern’ Microwave II tone generation as a new-generation classic hybrid wavetable synthesizer with an analogue lowpass 24 dB/Oct VCF — SSI
2144 Improved Ladder Type — with resonance and analogue saturation feature, true stereo analogue VCA with panning option, and much more to explore in a desktop-friendly form factor featuring a wide range of unique sounds. Plentiful presets — totalling 2,048 sound programs (divided into 16 banks, each with 128 sounds) — professionally programmed by world- renowned sound designers also include all of the classic Microwave sound sets, such as MW1 Factory Sound Set, MW1 Soundpool 1-5, the fat-sounding Analogue and Bassco, as well as PPG Wave 2.3 sounds cleverly converted for the original Microwave. Moreover, it also features freshly-programmed sounds utilising M’s myriad new features — from true hard Sync (when working in its Modern Microwave II/XT mode) to the ARP (arpeggiator) and MIDI-syncable global LFO (Low Frequency Oscillator).
But beating at M’s musical heart as an eight-voice polyphonic, four-part multitimbral WAVETABLE SYNTHESIZER — as boldly blazoned in red across its full-metal blue- coloured casing, itself hinting at its illustrious Microwave heritage — are two wavetable oscillators with independent wavetable-generating Classic Microwave 1 and Modern Microwave II/XT modes, meaning that the wavetable oscillators behave differently in both of those modes (accessible by pressing the Mode button beside the helpful high-resolution graphic display with four endless encoders for yet more hands-on control). Consequently, there is no hard Sync or ring modulation available in the Classic Microwave I mode, where 16-bit wavetables are bit-reduced to 8-bit and a 240 kHz non-anti-aliased sample rate is offered, whereas the Modern Microwave II/XT mode offers a 40 kHz sample rate with band-limited wavetables, although both oscillators — OSC 1 and OSC 2 — offer the same panel parameters.
Two LFOs are generating a periodic waveform with adjustable frequency Rate and Shape that can be used for modulation purposes, are also always at hand. However, unlike other Waldorf synthesizers, there is no modulation matrix in M. Making a conscious design decision to set up M’s modulation facilities directly on the corresponding display page, to paying tribute to the 1989-vintage Microwave.
Back in the here and now, M takes performance to a whole new level, thanks to that advanced ARP with 16 preset patterns, chord mode, and an ability to synchronise to MIDI clock. Furthermore, four programmable ENVELOPES allow adventurous users to manipulate sound parameters via rate or timed modulations.
Musically making a connection to the outside world is important to any synthesizer, so M offers six (rear panel-positioned) stereo analogue outputs — arranged as MAIN OUT (L/Mono and R) and AUX OUT (A, B, C, and D), the latter of which can be used to route each of the four Multi (multitimbral) parts to different outputs, if desired; a stereo headphone output (with an associated Volume knob in addition to the topside Master Volume knob); 5-pin MIDI IN, OUT, and THRU DIN connectors, complimented by a USB 2.0 MIDI port (for computer connection to transmit and receive MIDI data); an SD Card slot (for updating M’s firmware, importing/saving sound patches, and importing/saving M-specific data, such as user wavetables); and — last but not least — a Kensington® compatible security lock slot."
"I recently picked up a second Alesis MIDIVERB II to go with my existing one. I couldn't pass up the opportunity to try stacking these wonderfully lo-fi 80's machines. Signal chain is an aux send from Logic to the first MVII, which is on preset 28 (XLarge Warm 5 seconds), with the mix at 100% wet. Then from there it goes into the second MVII, which is on preset 29 (XLarge Warm 15 seconds), and the mix is up about half way, maybe a little more. The input level on the second unit is fairly low. If you turn it up, it's instant overdrive that sounds like out of control feedback. Sometimes that could be the exact sound you want. However, in this video I wanted to explore the softer side of the OB-6, so it's a delicate balancing act of wandering up to the edge of overdrive and feedback, and then backing away before it gets out of hand. You really need to react to the reverb as you're playing, and for this reason, I feel that the reverb itself becomes a part of the instrument.
The OB-6's effects are turned off. The only other effects used are from the Audiothingies Dr. A. There's some stereo delay to get a little more width and let some of those harmonics open up and shine. There's also a little bit of plate reverb to smooth things out. I think these units together in parallel are a great combo.
Contents:
0:00 Intro and Main Performance
5:50 Demo 2 (Chords from “On Hold”)
14:08 Demo 3 (Vintage Synth Brass)
15:08 Demo 4 (FM bandpass pad with high resonance)"
"Here's my first attempt at polyphony within a modular system. I've got 4 distinct voices, each with its own oscillator, filter, amp, and envelope. To make things more interesting, I added a sort of sub-oscillator to the first voice, though it can sound quite dissonant depending upon when that voice is triggered.
There is a very detailed rundown after the demo "performance", but to summarize: Each voice is a single sawtooth wave, with the addition of a square wave sub-oscillator on voice 1. All 4 oscillators run through their own low pass filter. The first 2 run through filters 1 and 2 on the System-500 521 dual VCF module. The 3rd oscillator runs through the LPF on the System-500 505 module. The 4th oscillator runs through the LPF on the MS-20 Mini. From there, each voice has its own VCA, and then the output of those VCAs are routed to the System-500 530 module, which acts as a stereo mixer. Voices 1 and 3 are panned to the left, 2 and 4 are panned to the right. This produces an effect similar to auto-panning. All four voices run through a BBD and spring reverb tank, which adds a ton of extra grit. Each voice has its own dedicated envelope generator. The first 2 have the System-500 540's envelopes. The 3rd voice uses a single ADSR from the Dreadbox Ataxia. The 4th voice simply uses EG2 on the MS-20 Mini.
I did my best to get a similar sound out of each voice, though it's far from perfect. However, that's really the whole point of this experiment: to do something that no standard polysynth can do.
In the demo, I've got aux sends setup in Logic to the Audiothingies Dr. A for delay, and for reverb I've got my favorite Alesis MIDIVerb II and Quadraverb combo. These effects run in parallel and were recorded in real time along with the dry output of my mixer. I tried to mix in the effects so that they're about 55/45 dry/wet.
Modules used: Roland System-500: 512, 521, 505, 530, 540 2HP VCO (x2) Polyend Poly 2 Arcus Audio buffered mult Pittsburgh Modular Giraffe (x2) Blue Lantern Subharmonics Manhattan Analog DTM Doepfer Dual VCA (x2) Dreadbox Ataxia Erica Synths PICO BBD G-Storm Electro Spring Reverb Tank Driver Korg MS-20 Mini"
"An updated EMU Morpheus version with different wavetable and filter table.
A one of kind module able to create and morph motion textures with evolving pads.
RACKMOUNT 1 rack height unit. The main panel features a 16 x 2 lines display, 8 buttons and a data encoder.
Back panel terminal connectors: - Midi interface - main out - 2 assignable AUX
Front panel terminal connectors: - headphones out - data card slot.
VOICE a 16 bits core Motorola MC68020 manages up to 32 voices polyphony. A basic sound patch is a combination of 2 samples "primary" + "secondary" - each with individual parameters: - oscillators crossfade osc1-> osc2 / osc2 -> osc2 - stereo panning position - keyrange - pitch tune - monophonic with portamento - reverse sample play - loop mode.
WAVETABLE the internal 16 MB ROM contains 484 PCM waves at 39 kHz / 16 bits resolution, most of these are from previous Emu Proteus machines. The wavetable contains various kind of PCM including: drums, choir, strings, organ, moog bass, guitar, harmonics, piano, basic waveforms and ethno percussions.
"Welcome to our new series! Patch Pairing is a series that pairs a drink with a patch. In this episode we make Ankoor’s favorite cocktail, and then make a patch to match the drink. Cheers!
Ingredients To make a Mezcal Paloma we’ll need the following ingredients. ¼ cup kosher salt 1 tsp chili powder 1 lime, zested and sliced 2 oz Mezcal 2 oz Grapefruit juice 1 oz honey simple syrup Club soda
Directions Combine salt, chili powder, and lime zest and spread out a small plate. In a cocktail shaker filled with ice, combine the mezcal, grapefruit juice, and simple syrup and shake about 15 seconds. Go around the rim of your glass with a lime, and then dip rip in the salt/chili mixture Pour into a salt-rimmed glass and top off with club soda and a few ice cubes. Garnish with mint and grapefruit wedges.
Non-Alcoholic Version
Ingredients To make a Paloma we’ll need the following ingredients. ¼ cup kosher salt 1 tsp chili powder 1 lime, zested and sliced 4 oz Grapefruit juice 1 oz honey simple syrup Club soda
Directions Combine salt, chili powder, and lime zest and spread out a small plate. In a cocktail shaker filled with ice, grapefruit juice, and simple syrup and shake about 15 seconds. Go around the rim of your glass with a lime, and then dip rip in the salt/chili mixture Pour into a salt-rimmed glass and top off with club soda and a few ice cubes. Garnish with mint and grapefruit wedges.
Timecodes:
0:00 - Intro 0:40 - How to make simple syrup 0:54 - Ingredient list 4:00 - Patch 7:34 - Aux sends 8:00 Percussion 11:00 - Jam outro"
If ou are viewing this post from the front page you will see a more link directly below. Click it before you start to get to the list of videos plus descriptions for each. You can use the controls at the bottom of the player to skip around. You can find Lost Clouds music at https://lostcl0uds.bandcamp.com
"Our 3U Professional Module range continues to expand with two new modules and the return of an old favourite.
SwitchMix II out of production since 2016, this redesigned version features several improvements and a lower price. Now shipping.
Output Line Driver is not just a balanced converter (all our module outputs are balanced anyway). This module can drive long cables and provides extra features for a comprehensive final output stage. The onboard stereo FET compressor gives a choice of clean or dirty.
Balanced Multiple Four groups of four linked mults provide up to 10 outputs and two phase changers for inverting signals.
___
SwitchMix replaces a tangle of patch cables, mults, and eight eight-input precision adders in one easy to visualise panel.
SwitchMix was our first and last Eurorack module, SwitchMix II has been redesigned and de-Eurofied to conform to the higher standards of our other modules and is now fully AES48 compatible. New features include a Gate and Trigger converter similar to that in PinMix which may be brought out on an option panel.
Output Line Driver
A compact stereo output stage for a modular voice with balanced line drivers suitable for long cable runs on the main outputs.
The Output Line Driver is much more than just a balanced output converter. The overall gain may be precisely calibrated between -8.5dB to +8.5dB gain to match expected levels. A pre-Level stereo aux send and return is provided for interfacing to effects units. A Spin control provides feedback to the effects unit and an "X" switch swaps left and right for ping-pong effects.
A stereo compressor may be switched in on the main outputs for subtle and unsubtle tone changes. This is based on a FET design used in a well known console for reverse talkback. The compression threshold may be preset to taste and the side chain is available for external control by audio or CV signals.
A 3.5mm headphone jack for monitoring pre-Mute is provided for live use and may also be wired to a 1/4" stereo jack.
Features
DC servo-ed inputs and outputs to remove offsets Professional pan law, -4.5dB in centre Multiple modules may have their main outputs linked for a stereo mix Output Line transformers may be added externally if required, but are not normally necessary LED signal level indicators Stereo FET Compressor Stereo FX send and return with Spin Stereo Headphone output
Balanced Mult
A group of four linked 4-way balanced multiples, two with "phase change" (φ) inversion.
N.B. Inversion requires balanced inputs and multing to unbalanced inputs will short out the signal
Features
Normalling between groups to allow extended signal splitting Completely passive and bidirectional No signal loss when driven with zero impedance outputs May be patched to balanced outboard devices
"This video is to demonstrate the incredibly dense, rich, sonically pleasing and experimental sounds that can be achieved with the SD-1. Everything Ensoniq made has it's own weirdo left-field charms and peculiar features; when it comes to their synthesizer line (the Ensoniq samplers are their own separate aliens); the SD-1 is the top of the chain in my opinion. It is followed VERY closely by it's direct elder descendent - the VFX/SD, next is the original VFX and THEN the FIzmo. Ha.
Sound is stereo out of the SD-1 into a Mackie VLZ4 mixer with literally just a TOUCH of H9 reverb on the "aux" to softly adhere it all .... I mean the knob wasn't even at 2. From there the audio went into the interface and directly to Logic for capture. What you are hearing is 100% the SD-1. It's an absolute incredible sound design tool and the internal FX are radical; they can be pushed in very wild ways!"
"The Ensoniq SD-1 (VFX/SD) have an interesting patch/program architecture. What I call a "patch" on the SD-1 can actually be composed of up to 6 complete synth voices containing one waveform each. I don't consider these to be "multi-programs" because you can play up to THREE of these patches together at one time; and THAT is what I would call a "program" on the SD-1. This video contains NO programs. Just single patches with no more than 3 voices selected at a time. What I am selecting on the SD-1's panel in the video is two custom stored patches and selecting different combinations of voices within them. Again, never exceeding more than three voices at a time, and no multi programs. The SD/VFX line also feature polyphonic aftertouch. It is turned off on these patches to demonstrate the power of the velocity mapping of this rich synthesizer. All audio and all FX are from the SD-1 ONLY. Audio is L/R out directly into an interface to Logic Pro X. Light limiting has been done to avoid peak clipping. That's all. There will be more SD-1 demos to come soon."
"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."
"It turns out I followed the sound and it was intense. Fair warning :-)
I just recently put back my Benjolin into my Euro skiff which feeds into the Easel Aux In. I had no idea what the sound would be as I slowly raised the LPG2 on the Easel. It was intense so I responded accordingly -- following a different sound. It can get loud and gritty. Modules involved in the Euro skiff are Buchla Red Panel 158 Dual Sine/Saw Osc, Instruo 1047 resonant filter, Makenoise Mimeophon, Epoch Benjolin, Intellijel Planar 2, MA 3 channel mixer and of course the Easel." https://www.patreon.com/synthtodd
"System 2 is our second complete system, offering a creamy-sounding, creative
take on classic subtractive synthesis. Its ideal for powerful and creative bass
and leads, with unrivalled sound quality. Plus a number of ACL-only tricks up
its sleeve.
1 x ACL Multifunction Discrete VCO 1 x ACL Variable
Sync VCO 2 x ACL Oktave 1 x ACL Discrete Core Ladder VCF 1 x ACL
Gate Mix 2 x ACL Multi II 1 x ACL Envelope x 3 2 x ACL QLFO 2
x ACL VC Dual Amp 1 x ACL Audio Interface 1 x 2 Row 84 TE ACL Case
incl.1 x ACL KAZU PSU"
"System 2 is our second complete system, offering a creamy-sounding, creative
take on classic subtractive synthesis. Its ideal for powerful and creative
bass and leads, with unrivalled sound quality. Plus a number of ACL-only
tricks up its sleeve.
Honestly, we weren′t sure we′d get as far as
System 2 calling the first ‘System 1’ was a bit of a leap of faith! After all, a
key point of modular is that you can mix and match components. But we realised
lots of users were grouping our modules together in their racks anyway. Not only
that, but many had run out of space in their main rack and still wanted to add
some ACL kit. And then there were the people who wanted a complete, portable
live-friendly system for gigs. So we gave it a shot it′s all modular, after all
so you can still connect it however you like – and it worked!
So why
this configuration? Following the success of System 1, we received many requests
for a more conventional subtractive synth design (1 had a heavy focus on
creative stereo sound). So the focus is on creating powerful bass and leads,
with plenty of modulation options, whilst still allowing scope for
experimentation, and harnessing the unrivalled power and sound quality that make
our individual modules so popular. The result has some very distinct
specialities and the unmistakable flavour of our modules, and is designed to
slot easily into a bigger set-up too. Let′s have a walk through those
modules…
The sound sources
The main sound sources come
courtesy of a Multifunction Discrete VCO. This module ignores traditional
designs, offering a unique and powerful sound, plus ACL-specific innovations
such as multi-waveform-type sub-oscillators. These latter are modulatable and
fully-syncable to the main oscillator. In fact you can even mix and match
between five types of each. Having two of these allows super-phat, layered
sounds, or fantastic stereo or detuned voices. Not only that, but the linear
detune feature allows unique beating effects, the timing of which remain
unchanged from the lowest note to the highest, rather than speeding up and
slowing down proportionately to the pitch..
Reinforcing the VCO (and
adding a host of additional creative possibilities) is a Variable Sync VCO. This
is a precise, excellent sounding VCO, providing five simultaneous waveforms, a
VC variable-sync feature (that works brilliantly with the main VCO),
exceptionally powerful linear FM (you need to hear what this can do to liven up
System 2 bass patches to believe it), and loads more.
Keeping these
VCOs modules company are two Oktave modules allowing precise transposition of
sequences and melodies up and down by four octaves, or precision detuning by
+/-7 semitones.
Processing and mixing
On filtering duties,
we have placed our Discrete Core Ladder VCF. If you′re building a classic
subtractive monosynth-inspired system, what else to pick but a silky
liquid-sounding Moog-inspired filter? This design goes much further, though,
offering a unique features such as BOOST, which ensures that there′s no
low-frequency loss, even at high resonance settings. Not only that, but all
filter pole settings 6dB, 12dB, 18dB, and 24dB/octave have their own individual
outputs which can be routed and used simultaneously for some fantastic effects
(imagine, for example, an Oberheim Expander filter with Moog
characteristics).
Pulling the individual oscillator sounds together
is a Gate Mix module. This is our mixer-with-benefits… on steroids… allowing you
to combine up to four main sound sources (complete with CV/gate muting) plus an
Aux input (which could be anything from a fifth oscillator for power chords to
another mixer in your modular set-up). Ideal for uber patches, there′s also the
option to simultaneously tap into two groups (inputs 1+2 and 3+4) in addition to
the main sum of each, making gate Mix, in addition to many other things, a
simple high-quality stereo mixer.
Routing
Key to creating
great modular patches is the ability to duplicate audio and CV sources for a
range of parallel processing, mixing and syncing options. As such, we′ve
included two Multi II modules, suitable for everything from precise
synchronisation of multiple tone generating VCOs to waveform mixing and
subtraction. And the inclusion of two offers up far more potential for combining
your System 2 with your other modular gear.
Cutting shapes
Envelope
shaping comes courtesy of an Envelope X3. This module is based on the acclaimed
Roland 100M, but vastly enhanced to deliver peerless punch and consistency. It
delivers three ADSR envelopes, with potential for lightning-fast response, ideal
for drums, bass, and other sounds that benefit from fast and tight envelopes.
But that′s not all: Long and Short modes (with overlapping ranges) mean it′s
perfectly suited to pads and drones too. LFO duties are supplied by no less
than three of our prized QLFO modules. This design offers unprecedented
versatility for an LFO, going far beyond conventional modulation duties, with an
extraordinary frequency range from snail-slow to dog-whistle territory.
Four
simultaneous outputs per module offer a sine wave and three phase-shifted copies
– 90º (cosine), 180º (inverted sine), and 270º (inverted cosine) – allowing a
world of fun (more on that here). The frequency of these can then be voltage
controlled (with an attenuator at the input), while another CV input then allows
the LFO to be pitched by volt/octave, with solid tracking good over 2-3 octaves.
But that is not all the QLFO can do, it can even operate as a rudimentary sine
wave VCO – and remember… System 2 includes three of them!
Twice the
fun
In any modular system, VCAs are a fact of life, like shower
curtains, bedsheets, and toothbrushes. But – like shower curtains, bedsheets,
and toothbrushes – that doesn′t mean they can′t do a great job, look sexy and
generally be a joy to use! We like to think our VC Dual Amp modules fit the
bill, and so we′ve added two of them, offering up a total of four VCAs.These
linear VCAs all feature unrivalled accuracy and precision, as their unique
design ignores conventional designs and is based instead on circuits found in
precise measuring devices, such as oscilloscopes. They also offer an uncommon
level of creativity thanks to the ability to handle both audio and control
signals, and with innovative features like a summed output for each pair –
alongside the individual outputs – and an Aux input, enabling a range of fun
effects such as modulated stereo panning and crossfading.
On the road
again?
Whatever kind of noises you make with a modular set-up, at
some stage you′ll want to take that audio out into the world, and our Audio
Interface is the answer. Whether you want an unbeatable signal path from modular
system to studio (and vice versa), or to take it on stage and combine it with
other equipment (without needing an additional mixer), it delivers. The
combination of a studio quality signal path, flexible routing possibilities, and
a headphone amplifier – capable of driving both high and low impedance
headphones, with low distortion – makes the connection between these different
environments effortless and sonically transparent.
All of this is
contained in an 84HP EVZ-1 case, our lightweight, high-end Eurorack cabinet.
Precision crafted from , with red oak side panels to add stability and strength
(and a little sex appeal) it integrates our KAZU switching PSU and is wired to
our EVE-1 busboard, The result is one of the safest most consistent supplies for
your modules (ensuring the longest possible life and performance), with
extremely low background noise and simply outstanding sound quality.
Finally,
System 2 ships with an AC adapter, and 20 patch cables, so it′s ready to use,
right out of the box."
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"
"What makes this a Christmas video? You'll know it when you see it. What's the song? You'll know it when you hear it. Even though I played it wrong.
I just got the Roland Super JX-10 and am waiting for the Vecoven firmware chips to arrive so I can test new changes to the MIDI Mod app. The Super JX has a distinct instant 80's vibe to it that just feels like home. I spent the evening going through the JX-8P stock presets and there are so many great ones. This video features the "High String" preset. I needed to fill out the low end so I made a stringy, yet somewhat brassy patch on the Alpha Juno-2 to do that. I routed aftertouch to the filter for maximum feels. Unfortunately, the aftertouch sensitivity on this Super JX is about as good as the sensitivity on my Juno. It requires a minimum of 80 pounds of pressure just to eek out a MIDI value of 15. It's hours later now and my fingers are still tingling.
Both synths are running into an analog mixer and the aux send is going to the Ventris Dual Reverb with an "E-Dome" setting and then back into the mixer. From there it just goes straight into the audio interface. This is the raw recording. There are no additional effects or post processing."
Update: Build video added below followed by some module details and pics.
"What can I say, this module is like 20 awesome modules in one
simultaneously. This is a fairly complete run through all of what it can
do.
Check out my build video if you want to build one, and get a panel/PCB set or a
prebuilt one here:
https://michigansynthworks.com/produc...
INDEX! Open 0:00 Turning it on 1:24 Catching Pots 1:41 Loading
Presets 2:03 Frequency Controls 2:23 Display Navigation 2:32 Connecting
a Midi Controller 3:06 VCA and Routing 3:49
Here are some patch notes: ------------------------------------------------ - One sequence of the Keystep Pro is sequencing the Basimilus, and another sequence that has a different length is sequencing its Morph function, and one more sequence, again, with a different length, is sequencing its register. - I'm using one channel of Lubadh in delay mode, and it's patched together with the Aux in and out to add some feedback. This channel is going through the Desmodus Versio. - The second channel of Lubadh is recording this, and it's receiving a trigger for record and erase from another sequence of the Keystep Pro, and again, this sequence has a different length. - I'm sending this channel to Microcell for some reverb before it goes into Freak for distortion. From there, it goes to the Mimeophon for extra space.
"I guess 50 (60?) of these were produced, either as kits or assembled products. I bought this to complete my own rack full of Grant Richter modules. It was a largely an impulse buy fueled by the tingly feelings my Wiard 300 modules give me. Make no mistake--this is NOT a Wiard module nor does it sound like one. It is not nearly as awe-inspiring overall, though it does have a few tricks that make it worth exploring. Definitely a cool piece of synthesizer history.
I found this to be, overall, one of those "sweet spot" machines, where nuanced wiggling can give you some really unique and impressive sounds. This is particularly true with the bandpass filter, which really sounds like Satan yelling about the weather while contending with a head cold. Very cool.
There are a few peculiar aspects to this, such as the weird gain staging. Any setting after 12 o'clock in the VCA will saturate/distort. Maybe you like this. I don't care for it personally. That's just the way these things work, as confirmed by several other owners, as well as Cary Grace, who currently builds all modules under the Wiard name, and who tours with an Evenfall Mini Modular (largely because it's small and light, I guess). This is a very lightweight synthesizer.
The pots are all mini pots, like attenuator pots on lots of modern Eurorack modules. I'm a bit of an oaf for these, but they're not difficult to work with.
I have not opened it to check internals or perform any mods. I'm not sure whether there are schematics floating around, but if you choose to go that route I'm sure you're an intrepid enough lad or lass to chase them down.
Cosmetically, there is some damage on the lower right edge of the panel; I have straightened this to the best of my ability.
Their words (copy/pasted info from around the web):
The Evenfall Mini Modular Synthesizer is a rack mountable semi-modular analog synthesizer featuring the warm, organic sound of real analog circuitry and the flexibility of individual control knobs and a patch cord interface.
The Mini Modular also features internally "pre patched" or "normalized" connections among the modules. These connections make the Mini Modular a capable synthesizer even without inserting patch cords. These internal connections can be overridden by inserting 3.5mm patch cables as desired.
The Mini Modular can be patched to make sound by itself or in conjunction with another voltage-controlled synthesizer. It can also be controlled from a MIDI controller via the built-in MIDI to CV interface which provides pitch, velocity, gate, pitch bend, portamento on/off, and modulation output voltages.
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This synth was designed by Grant Richter of Wiard synthesizers and there were roughly 60 sold, 30 in kit form and 30 assembled. The previous owner told me this is a factory-assembled unit.
Grant wrote this on the old Wiard Yahoo list:
"That is a great little instrument.
It was originally slated to be the Wiard Model 3600, but I decided to pass on it because we could not find knobs to fit the little nubby pot shafts. They are just like TR-808 tuning pots. I feared the lack of knobs would limits sales too much.
"Bifold is a dual channel wavefolder, where one channel (the P channel) has a sonic characteristic inspired by the Buchla-style Parallel “deadband” folding circuit, while the other channel (the S channel) is more characteristic of a Serge-type Serial folding circuit. Besides offering two unique flavours of wavefolding, Bifold features numerous feedback and routing options along with CV control, enabling you to mix, blend and crossfade those flavours into a rich stew of unique waveforms and harmonic movement.
In this video we take a quick look at how Bifold sounds and how it works, in order to get a sense of the creative possibilities offered by this module."
First Folds With Bifold
"This video provides a few demos of how Bifold sounds when used in musical sequences, drones, and distorting drums.
Video Chapters:
00:03 - Melodic sequence with blends of folding
01:36 - Distorting drums and aux feedback
02:36 - Ringmod bell tones and AM
03:28 - Growling drone"
Coming soon for $229.00
"Wavefolding can be one of the most powerful yet simple ways to introduce complex timbres to a simple waveform. When done well, the results can be warm, textured, organic and full of musical character. We studied some of the most revered wavefolding circuits and looked at ways to integrate the positive qualities of these into a design that was full of sweet spots and allowed for a huge amount of experimentation and modulation.
Bifold combines two unique wavefolders with a crossfader; One channel (the P channel) has a sonic characteristic inspired by the Buchla-style Parallel “deadband” folding circuit, while the other channel (the S channel) is more characteristic of a Serge-type Serial folding circuit. There are distinct differences to how they react to specific waveforms, modulation and even their overall frequency response. By linking both folders together with a voltage controlled crossfader we further expand the ability to blend these two different folders together to create new waveforms. But this just scratches the surface of possibilities. Ring modulation, blending, crossfading, complex noise generation, feedback modulation, cascaded folding and so much more are all possible thanks to the strategically placed routing switches, jack normals and attenuators and other control options. This is a module that invites much exploration and discovery and pairs well with almost any kind of modulation and sound source."
