The Zorlon Cannon | Dark Atari 2600 Tone Generation | The Harvestman | IME

video upload by Nostalgic Ruckus

"This module is pretty special. To give an idea of what is going on I tried to make it simple. In all of these patches the top mixer is the sound and the bottom mixer is the gates. The bottom mixer is firing gates that are triggering all four envelopes separately as an envelope or in burst mode on Quadrax. The top mixer outs are going into vcas. That is where the sound is coming from. There are four sounds in total coming from the mixer. When I say mixers I am talking about the outputs on the Zorlon Cannon. Quadrax is then modulating the vcas. Something to note. Quadrax when in burst mode (yellow lights) till the cycle ends it will block any of the gates incoming from the Zorlon Cannon till it ends its cycle. Think of it like a ping pong ball bouncing. It will not accept gates from the Zorlon Cannon till the final 'bounce'. This is why at first it may look like some of the gates are not matching up with the envelopes.

Probably the most fun I have had in modular in awhile. Up there with Mito and Dial up from Moffenzeef Modular as far as the fun factor."

Qarv Patch Tips #3 #eurorack #modular #modularsynth #qarv #bouncingball #lfo #functiongenerator

video upload by After Later Audio

"A quick patch tip to create a bouncing ball trigger effect with Qarv using only two channels."

Synthfox Introduces EBB & FLOW

video upload by SYNTHFOX Channel

Playlist:
EBB & FLOW: Generative Krell Patch Tutorial
EBB & FLOW: Complex Envelopes & Slope Shapes
EBB & FLOW: Ebb INJect INput
EBB & FLOW: VC Clock Division
EBB & FLOW: ~overview~
EBB & FLOW: Kickdrum Patch & Logic Gate Ratcheting
EBB & FLOW: Bouncing Ball Patch

via Synthfox Reverb

EBB & FLOW goes beyound just being an innovative slope generation combomodule. It consists of two slope generators - EBB on the left and FLOW on the right - and minimum/maximum voltage selectors at the bottom. With its four separate, yet intertwined submodules, EBB & FLOW is a compact and intuitive slope powerhouse with endless possibilities of external and internal patch-programming!

The Ebb slope on the left on the module produces a spike-like envelope, perfect for percussive and plucky sounds. Ebb can be set to loop and become a voltage-controlled time base generator of an immense time range. The inject input allows to use it as a vca/filter/suboctaver crossbreed with audio, or as a negative voltage transition slew limiter. The Flow slope on the right acts like an attack-decay or attack-release envelope when actuated through trig or gate inputs respectively. Rise and Fall times have individual CV inputs and a joined both CV in. Flow has two logic outputs along with its slope out, allowing for smart patch-programming inside and outside of the unit. Flow can be looped, producing an arbitrary shaped oscillation. The OMNI input provides instant control over all time parameters of the module, allowing to make the patch-programmed havoc drift together to slower or faster territories!

The Max and Min voltage selectors are a separate submodule. Its range of applications is OR/AND functions for gates and other logic signals, creative sound mixing and rectification, CV mangling and more. The inputs of Max and Min have outputs of Ebb and Flow normalled in, so with nothing plugged in, they act as instant combinators for of the two slope generators.

MODULE FEATURES
EBB voltage controlled decay-only slope with 2 triggering modes, VC looping, shape control and voltage injection

FLOW voltage controlled rise and fall slope with trig (AD) and gate (AR) mode and logic outputs for patch programming

EBB and FLOW time settings continuously span from very slow CV to audio-rate

The OMNI control voltage input controls all time settings, allowing for easy access to dramatic movements

MAX and MIN voltage selectors useful as logic functions, audio manglers, CV layering tools, and more

EBB and FLOW outputs normalled to both MAX and MIN inputs for instant slope combinator action

Four submodules in one, usable completely separately, but matched and intertwined for creative patching inside and outside of the unit

CLICK FOR MORE »

Tiptop Audio & Buchla - Fake Delay & Bouncing Ball

video upload by Stazma

"Hello there!
Today I'll share with you a classic modular synth patch that I really enjoy using, it's also a great exercise to get a feel for how VCA's and envelopes can work together. It's actualy just one of the many ways you can patch this, wich will use any sound source (258t here) with the 281t, 257t and 292t as the main building blocks (you can of course patch this with similar modules). I like it in the Buchla contect as you can play with 292t modes and get different sounds this way.
Anyway, I hope this will be helpful. Have fun."

9 patches with Neutral Labs Elmyra 2

video upload by nyppy

"Available as DIY kit or assembled desktop synth or Eurorack module. See https://neutral-labs.com/elmyra2

Elmyra 2 is a drone synthesizer and platform for microtonal sonic exploration.

00:00 Bouncing Ball
00:22 Zombie Pulse
01:07 Insect
01:44 Three Sisters
02:16 Drunk Troubadour
02:49 LFO Bro
03:22 Elastic Steel
04:14 Spooky Vibrato
04:50 Fabric Softener"

See the Neutral Labs label below for additional demos.

5 things you can make with Imitor experimental delay plugin + presets for VST, AU, and AAX

video upload by Noise Engineering

"We're using our experimental delay plugin Imitor to make classic 1/8th note delays, a bouncing ball delay, a delayed delay, Karp, and vintage vibes.

0:15 1/8th Note Delay
0:37 Bouncing Ball
1:10 Delayed Delay
1:45 Karp
2:13 Vintage Vibes

Visit the plugin page on our website, then select the "Presets" dropdown to download the 5 things in this video for free here: https://bit.ly/3t84EQD

Imitor is a delay designed for experimentation. With up to 32 delay taps and tons of time and tone parameters, Imitor is perfect for creating unusual echoes, experimenting with different delay shapes and patterns, adding vintage flare to an atmosphere, and more. Despite its power, we wanted to make it immediate to use, so we included a load of presets, ranging from your bread-and-butter delay settings to otherworldly, wacky ones that will blow your mind. Or, hit the rand button and see where Imitor takes you.

Put Imitor on anything from vocals to rhythms to instruments and more. Turn it up for long, evolving echoes or crank down the delay times for effects like comb filtering, chorus, and flanging.

Imitor is a playground, it’s a beast asking to be tamed, it’s more. Ask your doctor if Imitor is right for you.

All Noise Engineering plugins feature an extensive modulation system so you can get your patches moving with LFOs, envelopes, and step sequencers – plus, modulators have adjustable randomization for easy humanization."

Stoicism //SIG+/XPO/QPAS/Mimeophon//

video upload by Aleatoric Machine

"A self-playing Eurorack modular synthesizer patch featuring Make Noise’s XPO, QPAS & Mimeophon, and Stochastic Instruments’ Stochastic Inspiration Generator (SIG+). Plus many more modules described below.

Everything you hear in this is coming from a single monophonic sequence from the SIG+ and a single Make Noise XPO. I’m pretty amazed by how much variety of tone and texture can come from this single oscillator, all at the same time. The different waveform outputs are each running through their own VCAs, filters, triggers, and effects, but the melodic content is all the same. I’ll go through the sequencing in a minute, but first I’m going to focus on the audio signal paths.

Overall, the XPO’s L & R modulation are controlled by a triangle LFO coming from Acid Rain’s Maestro.

The first output is the stereo square wave, which goes through QPAS and Mimeophon, then into the mixer. QPAS’s L & R rotation and Q are modulated by two different smooth random waves from ALM’s Pamela’s Pro Workout. Mimeophon’s repeats are modulated by a smooth random wave coming from Maestro. This voice is triggered by a bouncing ball coming from Make Noise’s Maths.

The second output is the mono triangle wave, which first goes through an Intellijel 1U VCA, then uses Intellijel’s 1U pedal I/O to go through a Chase Bliss Mood (repeats tuned up a 5th) and Chase Bliss Dark World, then into the mixer. This voice is triggered by another bouncing ball from another Maths.

The third output is the mono sawtooth wave, which goes through channel one of a Make Noise ModDemix, an Intellijel Morgasmatron (with panning controlled by separate LFOs going to the L & R FM1 inputs - LFO 1 coming from Mutable Instruments’ Tides and LFO 2 coming from Intellijel’s Rubicon 2), then a Happy Nerding FX Aid XL running a flanger algorithm, then into the mixer. This voice is triggered by a repetitive Euclidian rhythm coming from Acid Rain Constellation and Doepfer Dual ADSR.

The last output is the spike wave going through channel two of the ModDemix, a Doepfer Multimode VCF, and Strymon’s Magneto in shift mode, then into the mixer. Magneto’s repeats are modulated by another smooth random wave coming from Maestro. This voice is triggered by a slower Euclidean rhythm coming from Constellation and Make Noise’s Contour.

Each voice goes into Doepfer’s VC Stereo Mixer, which has a built in VCA on each channel. The level of each voice is independently controlled by a separate smooth random wave from Pam, so the mix is constantly evolving. The voltages coming from Pam are further slewed by Mutable Instruments’ Stages, since the smooth random wave from Pam can still have some sharp edges. Then the whole mix goes through a 2HP Verb, with the reverb mix modulated by another smooth random wave from Pam, and finally through Endorphines’ Golden Master, which connects directly to the Intellijel 7U Performance Case’s built in audio outputs.

Now for the melodic content and harmonic structure. This is all driven by Stochastic Instruments’ Stochastic Inspiration Generator (my first patch with it!). This is an incredible module. I won’t go into everything it does, as there are already a couple very helpful videos out there on that, but suffice it to say that it lives up to its name! I’m using multiple channels, each with its own tonality, then cycling through those via an ALM Boss Bow Two switch to determine which channel will control the v/oct pitch of the XPO. The Boss Bow’s channel is control by a sequence coming from another Stages. Channel one is just a low C, to establish the primary key. Channel two randomly selects pitches from a C major chord, with low C in the bass. Channel three selects pitches from an F minor chord, with an occasional 2nd and 4th and a low F in the bass. Channel 4 selects pitches from a D flat major chord, with an occasional 6th and a low D flat in the bass.

I’m not sure if this is indeterminate enough to be considered generative, since the harmonic content is fairly structured, even if the melody, rhythm, and balance of the parts are all random. It’s more, well, aleatoric. I hope you enjoy it (although I realize than if you are into this sort of thing, you are born of a special breed!)."

How to create complex bouncing ball simulations - with ADDAC 503 Marble Physics

video upload by Monotrail Tech Talk

"The ADDAC 503 Marble Physics is a module that simulates the behavior of a ball on a square plane. The plane can be tilted over two axes, and you can control things like the elasticity off the edge of the plane, and simulation speed. That sounds like fun, but in this video I also show how it can be used to create interesting patches, and control voltages."

Introducing Pamela's PRO Workout - ALM034

video upload by ALM TV

"Announcing ALM034 - ‘Pamela’s PRO Workout’ - New classes have started! The next evolution of Pam is here..

’Pamela’s PRO Workout’ is a compact programmable clocked modulation source providing 8 highly editable outputs that can produce everything from simple clocked triggers and complex rhythmic wave forms to quantised melodic patterns, random chaos and more, all correlated and synced to a BPM based master clock.

Building on the original ’Pamela’s Workout’ & ’Pamela’s NEW Workout’ the evolved ’PRO’ Pam maintains the precursors' form factor and intuitive workflow but improves and adds many new features with upgraded hardware, more CV inputs, a new full colour hi res display and rewritten software adding many new enhancements like micro grid timings and cross output modulations.

Section Time Stamps:
0:00 - Intro
0:32 - Basic Beats from Timing Modifiers
1:47 - Loop, Loop Nap & Loop Wake
2:26 - Waveforms - LFOs & Envelopes
3:44 - Euclidean Patterns
4:42 - Quantised Melodic Sequences
5:51 - Flex Operations - Swing
6:38 - Cross Operations - NOT Logic (Rhythms)
7:22 - Cross Operations - Sample & Hold (CV)
8:16 - Assigning External CV
9:20 - Global Parameters - Saving & Loading
9:38 - Global Parameters - UI Theme
10:05 - Outro"

Pamela's Pro Workout by ALM Busy Circuits : Top 5 Favorite New Features

video upload by Perfect Circuit

"Get your Workout today : https://bit.ly/3GpKv05
Read more on our blog : https://bit.ly/3gbJrm3

ALM Busy Circuits has been creating incredible eurorack modules for the last 10 years, and on the eve of their birthday they give back with the unveiling of Pamela's Pro Workout!"

Originally released in 2012 and updated to ’Pamela’s NEW Workout’ in 2016, the next evolution of Pam, the ‘PRO Workout edition’ will be released by ALM Busy Circuits on the 18th November 2022 worldwide.

Over the last 10 years Pamela’s Workout has cemented its place in Eurorack systems as a must have unique module. Originating as a useful 8 channel clock & function generator it quickly morphed into so much more; a groove box capable of creating Euclidean & randomised rhythms, a generative music maker turning random control voltages into looped quantised melodies or endless generative melodic sequences. A lot of functions that attracted people to Eurorack were accessible in a compact 8HP ‘Swiss Army knife’ - hence its appeal.

With ‘Pamela’s PRO Workout‘ ALM have built on the original designs maintaining the functional form factor and intuitive workflow adding exciting new features:

A Bigger Hi-Res Full Colour Display: Clearer user interface, visual grids, bigger text, colour options and more.

New Wave shapes: Ratchets, Trapezoid, Parabola & 2 new envelope options.

Cross Output Modulations: Link 2 outputs together to create a unique mix of control voltage for resetting, logic functions & creating unique waveforms.

Flex Operations: Utilise ‘micro grid timings’ to create bouncing ball type beat loops, sped up / slowed down outputs or just general chaos.

More CV Inputs: Up to 4 inputs now available for CV control over Pam’s functionality.

Faster dual core processing: with increased timing and output resolution

Magerit Eurorack Modules

Magerit LANIAKEA - A "cosmic" oscillator - New Release video upload by Magerit

CLICK FOR MORE »

Printed Circuit Birds by Kelly Heaton

Printed Circuit Bird (Bluejay), 2022 from Kelly Heaton on Vimeo.

My "printed circuit birds" are self-contained sound generators. The electronics are � analog: no audio recordings or software are involved. By “analog” I mean that the sound is dynamically produced by the bird’s body (aka the circuit), like a vintage synthesizer. In this video, I adjust knobs to change resistance in the circuit, thereby altering the song quality. You can think of this like adjusting neurons in a bird’s brain to alter the impulse by which it vocalizes. I am passionate about building circuits because they demonstrate the life-like qualities of electronic hardware, which is often over-looked in favor of software. I’m not sure why we abandoned analog hardware along the road to technological advancement— digital is great for what it does, but it’s not the full spectrum of creative electronics. It would require a vast amount of hardware to build a digital computer capable to execute code for birdsong like this.

Survey of my electronic songbirds from Kelly Heaton on Vimeo.

A three minute overview of some electronic songbirds I made in the past two years.

Survey of my electronic songbirds from Kelly Heaton on Vimeo.

Circuit Bird (AP 1/1) from Kelly Heaton on Vimeo.

"Circuit Bird" is a mixed media piece made with traditional printmaking techniques, laser cutting, and electrical engineering. The electronics, which are entirely analog (meaning, there is no computer, software, or audio recording involved) generate bird-like sounds that can be adjusted using knobs on the front panel of the work. Each knob controls the frequency of a single oscillator, which is a circuit element that vibrates when exposed to electricity. There are six oscillators in the entire piece, each with two knobs. The reason for the two knobs is that I have built a type of circuit called an "astable multivibrator," in which oscillation is produced by two transistors that are connected together with a combination of capacitors and resistors. The easiest way to visualize this dynamic is to think of a tennis match wherein electrons are bounced back and forth between two players in a rhythmic volley. Each transistor, aka "tennis player," hits the electronic "tennis ball" with a force that returns it to the opposite transistor (like Pong). This back and forth bouncing of electrons creates a sinusoidal waveform of rising and falling electricity: hence, creating an oscillation.

A single oscillation is not particularly interesting to see or hear; it creates a continuous pulse, such as a blinking light or beeping sound. However, things get interesting when you combine oscillators to create patterns. In my practice of creative electrical engineering, I have discovered that five or six interconnected oscillators are sufficient to produce an electronic pattern or "grammar" reminiscent of birdsong. "Circuit Bird" demonstrates the expressive potential of analog oscillators to mimic life-like behaviors. I discuss this insight in greater detail in this presentation from Fall of 2020:

https://www.youtube.com/watch?v=x94M0nFduNc



Documentation of "Circuit Bird," 2021 (artist's proof 1/1). The art is made with electronic hardware, printed circuit boards, foiled chipboard, and screen-printed silk that has been laminated on a wooden frame. Dimensions are 35" tall, 23.5" wide, and 1.5" deep

Tour of the analog electronic soundscape in my studio (January, 2021) from Kelly Heaton on Vimeo.

Works shown include: Big Pretty Bird (2019), Bluebird (2020), Pretty Bird ver.CC (2019), Parrots (2020), Birds at my Feeder (2020), Electrolier / September Night (2018), Moth Electrolier (2019), and The Great Conjunction (2021). All of the lights and sounds are dynamically generated by analog electronic hardware of my own design.

Richard Devine Ascension - Modular Patch

video upload by Richard Devine

"Patch experiment using the Noise Engineering Variatic Erumption x 2, and Minigorille CV graphic modules x 2. Clock output from the Tiptop Circadian Rhythms into the CV Graphic input 1, left side (purple). Then another output from the TipTop CR taken to the right side (siliver) CV Graphic module. Output 4 from the Tiptop CR sent to the left side Variatic Erumption (ext gate to the hit jack input) which would send very slow burst of random gates. The CV Graphic CV output (PONG sequencer mode 2) A and B would output bouncing ball like CV voltages to the Variatic Erumption CV Pattern, and Time/Division input. This created some very organic scattered sequencing, taking one output that was triggering a Snazzy Fx Ardcore running custom frac drums patch.

The other output was running into a trigger input on the Mutable instruments clouds, which is causing the light granular scattering in between the beats. Another output from the V.E. running into the Noise Engineering Basimilus Iteritas, for the FM pluck like percussion sound. Next output from VE running into a 4ms RCD, random triggering spaced out burst to the clock input. From here, the output was taken (4)out to the MakeNoise Optomix set slightly open, which was running a ALM's new "Akemie's Castle" dual voltage controlled oscillator, running out the chord output (OSC A). From the Akemie's Castle the output is going into a Tiptop Z-DSP processed with the Halls of Valhalla card running program 7 (Asgard). Mult output also taken to the Strymon Big Sky pedal running in "Chorale" mode mix completely wet for delicate melodic swells. Making the rich choral timbres. Another gate output from the Noise Engineering V.E. running into the Mutable Instruments Rings module. Output from here sent to the Qu-Bit RT-60 effect module, which is also being triggered (for effects program change) via by the 5 division output from the 4ms Rotating Clock Divider.

Kick drum created using the MakeNoise telHarmonic module, running into an Optomix. Snare and hi-hat sounds courtesy of two Ladik D-333 Rom players. One running the Snares card, and another running hi-hats. Both outputs being summed into the Synthrotek DLY module. The delay input being modulated by a modcan QuadLFO output 1 slow S&H. First sequenced notes via the Mutable instruments Braids running the new "HARM" additive harmonics mode. The quantization was set to "Oinian". Second Braids for other harmony running the "OPSK" smooth sine like melody, VCA mode set to on, with short decay for pluck like quality. Signal for both braids are being sent to another Qu-Bit RT-60 running program number 1-Reverb. Quantization set to "Oinian". Bassline sound created with an Intellijel Shapeshifter output 1, then being run into intellijel uVCF filter in LPF input, then the signal goes out a Qu-Bit RT-60 in program 1 Reverb.

Link to download the free track here: http://bit.ly/1LkddOy"

This Is 52 //Subharmonicon/Mother 32/STO/Plaits/Rings/Mosaic/Mimeophon/Magneto/Stages/Chance/Maths//

video upload by Aleatoric Machine

"Eurorack modular synthesizer performance.
Variations on 3 different 4 note sequences.
Moog Subharmonicon generates the 2 primary rhythmic sequences, running through Strymon Magneto. Sub 1 of the first sequence runs through its own output, then through 2hp MMF and Make Noise Optomix for the rhythmic bass line.
Moog Mother 32 generates the descending drone sequence, which is doubled by Make Noise STO tuned up an octave, both run through Chase Bliss Mood, tuned up a fifth.
Mutable Instruments Rings follows the pitch of the descending sequence, with a bouncing ball rhythmic pattern generated by Make Noise Maths and Function, then run through Make Noise Mimeophon. The drifting harmonic tone on top (unison, +5, +12) is the result of modulating the structure of the Rings sound.
Mutable Instruments Plaits chimes the fifth at the beginning of every 8 bars, as well as being trigger by the end of rise on the Function.
Drums are coming from Mosaic Bass, Snare & Hi-Hat modules, sequenced by Intellijel Steppy 1U. Decay on Hi-Hat is a 7 step pattern generated by Mutable Instruments Stages.
The volume and filter cutoff for the drums and rhythmic bass are controlled by Make Noise Pressure Points, with decay slew controlled by a second Make Noise Maths.
Lots of modulation across different parameters is generated by Ornament & Crime and Qu-Bit Chance.
I think that's it."

The New Utility Powerhouse - Boundary by Schlappi Engineering

video upload by

"In this video resident expert Nick Bigelow of Patchwerks shares with us the many ways you can use Boundary by making comparisons with the Make Noise Maths.

The Boundary is a multi-purpose modulation and signal control center. It consists of a cycling slew and a four quadrant multiplier (VCA).

The cycling slew (which can be used as an envelope or LFO) has individual control over rise and fall, rate and shape, as well as dedicated inputs for trigger, slew (for gates or pitch cv), full wave rectification (for envelope following), and a unique BOUND input which allows for bouncing ball effects and additional modulation of the envelope.

The four quadrant multiplier is an OTA design and is usable as a VCA or ring modulator with a soft limiter on the output to tame extreme signals or push into distortion.

Order the boundary here: https://bit.ly/boundary_se

https://patchwerks.com/
Demo by: Nick Bigelow
Video by: Matthew Piecora
https://www.ezbot.live"

SCHLAPPI ENGINEERING Boundary Overview Part 1

video upload by SCHLAPPI ENGINEERING

"The Boundary is a multi-function cycling slew and four quadrant VCA. In this video we go over some basic envelope/vca usage, bouncing ball fx with the BOUND input, and using it as a clock or frequency divider."

"The Boundary is a multi-purpose modulation and signal control center. It consists of a cycling slew and a four quadrant multiplier (VCA).

The cycling slew (which can be used as an envelope or LFO) has individual control over rise and fall, rate and shape, as well as dedicated inputs for trigger, slew (for gates or pitch cv), full wave rectification (for envelope following), and a unique BOUND input which allows for bouncing ball effects and additional modulation of the envelope.

The four quadrant multiplier is an OTA design and is usable as a VCA or ring modulator with a soft limiter on the output to tame extreme signals or push into distortion.

LFO and modulation oscillator (from cycles measured in minutes to high audio rate)
Trig input can be used for attack-decay envelope
Slew input can be used with gate signals for attack-release envelope
Slew input can also be used as portamento for v/oct signals
Rectify input has a full wave rectifier to act as a high quality envelope follower
Bound input allows for unique bouncing ball effects and combined AM/FM modulation
Trig input can also be used for voltage controlled frequency division at clock or audio rate
EOR output can be used for gate/trigger delay
Four quadrant VCA allows for ring modulation
Soft limiter on the VCA output allows for taming or distortion of wild signals

All analog design
12HP
Skiff friendly 25mm depth
Max current draw: +12V 112mA -12V 59mA
$219"

Shared System Tutorials | Part 38 | The Jukebox

video upload by Cinematic Laboratory

"In MakeNoise latest Maths 'bouncing ball' video, Tony Rolando spoke about a patch you could start with one button/trigger and would then play a 'song' by itself. Aleatoric Music.
I've been so intrigued by it and came up with a cool patch that does just that."

A Brief History of the Bouncing Ball patch

video upload by MAKEN0ISE

"A cult-favorite patch from the original Maths manual, the "Bouncing Ball" has been a source of inspiration and exploration for years!

This video— hosted by Pete from the Make Noise Instagram channel— takes a look at the history of the Bouncing Ball patch through interviews with Tony Rolando and walkthroughs of its various incarnations.

Timestamps for the video's sections are below— enjoy!

0:00 Introduction to the Bouncing Ball patch
0:56 Interview with Tony Rolando about his inspirations for the initial Maths patch ideas
2:01 A walkthrough of the original (2009) Bouncing Ball patch
8:08 Interview with Tony Rolando about his inspirations for the Bouncing Ball patch
10:56 A walkthrough of the updated (2013) Bouncing Ball patch
13:33 Suggestions for ways to expand the 2013 Bouncing Ball patch
15:11 A walkthrough of the Bouncing Ball patch on an 0-Coast
18:12 Interview with Tony Rolando about recent musical examples featuring a Bouncing Ball effect
19:02 Interview with Tony Rolando about the legacy of the Bouncing Ball patch
23:02 Conclusions"

http://www.makenoisemusic.com

Insomnia //Bloom/Chord/Subharmonicon/Mother32/STO/Rings/Plaits/Tides/Zadar/Ornament&Crime//

video upload by Aleatoric Machine

"Self-playing eurorack modular synthesizer patch
Variations on a 4 note sequence
Bloom plays one variation via Chord, STO, and Tides, with envelopes controlled by Contour and Function, and harmonization by Mood
Plaits and Rings play 2 variations from 2 different Turing Machines on Ornament & Crime, with masks controlled by sequences from 2x Stages and bouncing ball patterns generated by 2x Maths
Mother 32 plays another variation
Subharmonicon plays another variation
Chance and Wogglebug provide modulation
Mimeophon and Magneto provide delay
2x Verb provide reverb
4x 1u VCA provide dynamics
Overall form controlled by 4 envelopes from Zadar
Mixed into 2x Mixup"

Revelation // Modular Synthesizer / Moog Mother 32 / Mutable Instruments Marbles Plaits Rings Tides

video upload by Aleatoric Machine

"Eurorack modular synthesizer patch featuring:
- Mutable Instruments Rings through Strymon Magneto playing a bouncing ball pattern generated by Make Noise Maths, with structure modulated by MI Marbles
- MI Plaits playing a cyclical percussion pattern generated by Maths and MN Function, with model sequenced by MI Stages
- MI Tides through MI Warps and MI Ripples playing a repeating pattern generated by MI Marbles, envelope controlled by MN Contour
- 2x Moog Mother 32 each playing their own sequence, with tempo modulated by Qu-Bit Chance and Ornament & Crime
- Upper Moog effected by Happy Nerding FXAid in Delay into Dual Shimmer mode
- Lower Moog effected by Chase Bliss Mood in Slip mode, Spectre, and Dark World, through Intellijel Pedal I/O
- Lots of random modulation from Marbles, Qu-Bit Chance, and Ornament & Crime in Low Rents mode
- Overall depth of modulation controlled by Intellijel Quadratt and VCAs
- All parts are asynchronous"

ESK - Marble Physics Modular Demo

Metunar

Update: video is back.

"Simple demo with the ADDAC System Marble Physics eurorack modul. I connected an oscilloscope to better show the bouncing ball effect. No talking.

Direct recording with mastering.

http://www.metunar.ch"

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Marble Physics