CLOUDY PATH // Cinematic Lo-fi Ambient // Novation Circuit Tracks

video upload by Invader 303

"A little ambient jam that was recorded while walking along the city's waterfront in cloudy weather. I appreciate the portability of my Circuit Tracks – it allows me to create music wherever I am. It also helps me when creating soundtracks for games and other projects.

For quickly capturing ideas, I’ve once again turned to the ‘Retro Futurism 3’ Sound Pack by ‪@A_Force_Truly_Evil‬. I love the pad and lead sounds in it. The retro yet modern vibe of the synthesizers in this pack inspires me to create minimalist ambient melodies. Highly recommended!
https://isotonikstudios.com/

Enjoy listening.

Listen or support my latest release:
https://wicrecordings.lnk.to/BrokenArcs2"

Frequency Central feat. Gnatophilidae Oxfordii, EDP Gnat style VCF with LP, BP, HP, Notch responses

video upload by Frequency Central

"If EDP had produced Eurorack modules, they would have been quirky, garish and killer. This is my homage. An expanded Gnat VCF with Lowpass, Bandpass, Highpass and Notch Reject responses as well as Drive and Clip options. The LFO is based on the ‘Enhance LFO’ from the Gnat, again its been expanded with multiple waveshape options. Yes, at 20HP it is twice as wide as it needs to be – you do you.

https://frequencycentral.co.uk/

In September 2023 I was lucky enough to acquire an EDP Gnat synthesiser after questing for one for many years. I’m already the owner of an EDP Wasp, and had always wondered about the Gnat, which is a smaller version of the Wasp in many ways, but with a character all of it’s own. After decades lying unloved in an attic for decades, my Gnat required a little love to get it in full working order, so I set to work on it, after looking up the schematic. The Gnat came to life, and we fell deeply in love with each other.

There have been a few remakes of the Wasp VCF, but never one of the Gnat to my knowledge, so with an original on hand I set out to remedy this sorry situation. The original is strictly lowpass, but it’s easy enough to add bandpass, highpass and notch reject – so that’s what I did. The Gnat VCF uses 3 gates from a CD4049, leaving 3 unused gates, so I used them to create an LFO based on the enhance LFO of the Gnat, which was used exclusively for a fixed rate PWM of the Gnat’s DCO. The LFO is expanded to offer multiple waveforms via it’s SHAPE control as well as it’s two outputs – saw/tri/ramp and pulse/square.

The Gnat was 9V battery powered, to get close to this in Eurorack I’ve given Gnatophilidae Oxfordii it’s own onboard +/-5V power rails. This helps keep it’s character close to the original. Gnatophildae Oxfordii is big and garish, a little whacky and a little leftfield. That’s it’s joy.

DRIVE: The two audio inputs pass through the DRIVE knob before hitting the filter itself. Higher levels of drive will clip the input waveforms to the filter, as well as reducing the available resonance.

CLIP: There’s a little circuit post-filter which will simultaneously amplify and clip the filtered signal.

The combination of pre-filter DRIVE and post-filter CLIP can get you into some pretty gnarly territory! Yes, at 20HP it is twice as wide as it needs to be – you do you."

MAKING A DIY MODULAR DRUM MACHINE

video uploads by LAURI’S DIY CHANNEL TV

Playlist:
1 MAKING A DRUM MACHINE EP 0 / overview of the project + free sample pack!

Hey hey hey!

This is the introduction to a series of videos about my analog modular drum machine. I’m going to start posting videos about the individual modules so make sure to subscribe to the channel if you're interested in stuff like this! Sorry this first video has a lot of talking but there’s a bunch of sound demos at 7:53

The drum machine is powered with a regular 12V DC power supply, but all the circuits should be working from maybe 5V to at least 15V.

2. CD40106 MASTER CLOCK / making a drum machine EP 1

This is the first module in a series of modules for an analog modular drum machine! It's a simple clock oscillator and you can use the circuit as an audio rate oscillator as well.

Here's a link to the schematic and a zip file with the gerber files for the PCB: https://www.dropbox.com/scl/fo/4rxf1a...

Download some free samples from the drum machine here: https://www.dropbox.com/scl/fo/1qnq4t...

Thank you PCBWay for the circuit boards! If you want to order your own boards and you haven’t used their services before, you can get a 5$ welcome coupon with this referral link: https://pcbway.com/g/4TImAO Thank you goodbye! ❤️"

3. PATCHABLE DRUM SEQUENCER / making a drum machine EP 2

Heyyyy

This is my patchable CD4017 gate sequencer for the modular drum machine. The patching is kind of a weird workflow for a drum sequencer, but it IS fun and inspires you to program different sequences from your usual drum sequencers.

Here's a link to the schematic and a zip file with the gerber files for the PCB: https://www.dropbox.com/scl/fo/vrmmjw...

4. CMOS COWBELL / making a drum machine EP 3

Hello y'all!

This is my modular drum machines simple cowbell module! It's based on Elliot Williams' circuits from his Logic Noise articles.

Link to the schematic: https://www.dropbox.com/scl/fi/fd2hyt...

And here's a link to Williams' article about cowbells and cymbals: https://hackaday.com/2015/04/10/logic...

CircuitTracks UNO Synth NTS-3 / Original / Jam

video upload by cocolobeat / ココロのサケビ

"Novation Circuit Tracks
IK Multimedia UNO Synth
KORG NTS-3"

Enter the Moog Labyrinth

video upload by Moog Music

Labyrinth | Moog Demo Library
video uploads by Moog Music

User videos:



Playlist (use the player controls to skip around):

1. Perfect Circuit: Moog Semi-Modular Comparison 2024: Labyrinth, Mother-32, & More (feat. Sarah Belle Reid)
2. Sarah Belle Reid: Moog Labyrinth Semi-Modular Synth: Overview + Explorations
3. Loopop: Moog Labyrinth // A Synth that’s a Generative Idea Machine // 13 patch ideas, review & tutorial
4. mylarmelodies: Moog Labyrinth Demo: Explanation & Generative Techno Jams
5. Reverb: Exploring Generative Synthesis with the Moog Labyrinth
6. Jorb: Moog Labyrinth // Generative Synthesis At It's Best
7. SUTURE SOUND: A ton of Moog Labyrinth sounds (no talking)
8. Bonedo Synthesizers: MOOG Labyrinth Sound Demo (no talking) - Preset Sheets
9. Limbic Bits: MOOG Labyrinth Sound Demo (no talking): 6 Improvisations on the Labyrinth
10. Starsky Carr: Moog Labyrinth // 3 Minute Manual + Full Review & Demo

AN UNEXPECTED PATH FORWARD

Labyrinth introduces a classic West Coast sound into the Mother Ecosystem experience rich analog synthesizer history in both surprising and recognizable sonic textures. Two generative sequencers bring to life sounds that bloom over time, letting you control their evolution and scale, then play them off of each other for striking polymetric melodies.

With parallel analog signal paths, this adventurous instrument shines when adding color to the steady backdrop of a drum pattern or bassline.

GENERATIVE SEQUENCER
The beating heart of Labyrinth is a robust dual sequencer, which uses chance calculations to generate two unique eight-step paths which twist and curve around one another.

SONIC WANDERING
A parallel voice processing path with a voltage-controlled blending allows you to morph sounds over time.

VOLTAGE-CONTROLLED WAVEFOLDER
A fresh interpretation of the Moog sound via a voltage-controlled wavefolder. Two oscillators drive duophonic melodic counterpoints, metallic FM tones, and analog synthetic drums.

Moog's semi-modular lineup expands to include the Labyrinth, a generative synthesizer that brings you two parallel sequencers, two oscillators, and endless possibilities. Based around a core sine VCO and a triangle Mod VCO, these sound sources have independent level controls, as well as a Ring Mod and Noise level control that all feed a saturating mixer that can add a touch or grit. From the mixer, we have the switchable option to go into a voltage controllable wave folder then into a classic Moog filter, the opposite with our filter going into the wave folder, or have both of these run in parallel.

The heart of the Labyrinth is the sequencer section. A dual 8-step sequencer gives you interactive quantized melodies that can affect various parameters, based on the labeled trimmers. These sequencers send out both notes CV and triggers and with a Trig Mix you can get rhythmic interplay that is quite satisfying. Each sequencer has a Length settings and a Bit Shift when adjusts the position of activated steps. The Bit Flip and Corrupt parameters present gives you more randomness and serendipity allowing you to create evolving patterns.

As with all of their semi-modular synths, Moog gives you access to 32 patch point patchbay with 12 outputs and 20 inputs. This gives you the option to self-patch and integrate it into your existing Eurorack ecosystem. Moog's Labyrinth is the perfect expansion to your existing system or a great starting point as an entry to modular synthesis, especially for those who are looking to get expressive rhythmic patterns quickly.

LABYRINTH FEATURES

- Parallel generative analog synthesizer

- Two oscillators, a sine-based and triangle-based

- Switchable wave folder to filter, filter to wave folder, or parallel processing

- Diode-transistor hybrid wavefolder with smooth Fold and Bias control

- Morphable Low pass to Band pass 2-pole filter

- Adjustable decay time for both decay envelopes

- Blend Sequence 1 and Sequence 2 triggers for complex rhythms

- Each sequencers has options to adjust length, per-step adjustments, adjustable randomness (Corrupt), and shifting the pattern on-the-fly

- Quantizable pitches to 16 different scales

- 32-Point patch bay, 12 outs 20 ins

CLICK FOR MORE »

ARP Omni-2 with Aftertouch + S&H Mod

Note: Auction links are affiliate links for which the site may be compensated.
video upload by New England Analog Archives

Note this demo is from 7 years ago.

"This video features an ARP Omni 2 synthesizer that has been modified with a custom LFO expander daughterboard. The PCB comes assembled and measures 2.7 x 3.2 cm.
This upgrade is simple to install, and it provides the LFO with 2 additional waveforms. A 3-position toggle switch controls the waveform selection. An adhesive-backed overlay decal is provided with the kit. The switch will allow sine, square, and random LFO waveforms to be selected. Kit includes instructions for expanding the range of Omni 2 VCF so that it can self-oscillate. This modification greatly expands the sonic possibilities of the ARP Omni. This kit will work on ARP Omni 1 as well. It can also be used to add an auxiliary sample and hold waveform to ARP Axxe, Odyssey, and Quadra LFOs."

via this listing

"The unit has been well maintained and has had the following work/mods done:

Replaced the noisy ARP power supply with a Power One linear supply

Unit was completely recapped in 2015.

All analog ICs and digital ICs were replaced

All sliders removed and restored. All now move smoothly.

Slider caps replaced with new ones.

Pratt Read keyboard bushings replaced in 2015.

Aftertouch added to the keyboard.

Aftertouch amount is routed to the ACC/PEDAL slider. The aftertouch affects the VCF cutoff. Additional waveforms added to the LFO. Originally only had sine LFO. Added square and sample & hold LFO. Sample & hold is the same circuit as ARP Odyssey MK1 S&H. Sounds great. 4075 VCF module recapped and had the cutoff frequency design error corrected. (Originally there was a design error, keeping the cutoff from fully opening up)

The finish on this Omni is not pristine. When I got it, it had been neglected for years after being in storage. Cosmetically, this is a 6/10 as there is evidence of lots of use on the powder coating.

I've attached a video deomonstrating the LFO mod I did to this Omni. The unit in the video is actually this Omni, but I have since removed the LED sliders, since I thought they were annoying."

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AEA TDI - Synthesizer (Sequential Prophet 10) - Listening Library

video upload by AEA Ribbon Mics & Preamps

Follow-up to the Sequential Pro 3 video posted earlier today here.

"Hear the AEA TDI on synthesizer (Sequential Prophet 10)!

The AEA TDI is a super-clean active direct box which features a circuit designed by Fred Forssell and a beautiful Lehle step-down transformer.

For more info about the AEA TDI visit: https://aearibbonmics.com/products/tdi/ #aeatdi

Input List: AEA TDI - AEA TRP3 Preamp - Apollo 16 Converter - Pro Tools DAW - 96K/24bit - No post processing

AEA Ribbon Mics and Preamps • Handmade in Pasadena, CA, USA (c) #aeamicrophones"

AEA TDI - Synthesizer (Sequential Pro 3) - Listening Library

video upload by

"Hear the AEA TDI on synthesizer (Sequential Pro 3)!

The AEA TDI is a super-clean active direct box which features a circuit designed by Fred Forssell and a beautiful Lehle step-down transformer.

For more info about the AEA TDI visit: https://aearibbonmics.com/products/tdi/ #aeatdi

Input List: AEA TDI - AEA TRP3 Preamp - Apollo 16 Converter - Pro Tools DAW - 96K/24bit - No post processing

AEA Ribbon Mics and Preamps • Handmade in Pasadena, CA, USA (c) #aeamicrophones"

Radical Frequencies Introduces Diode Dream VCF

video upload by Radical Frequencies Modular

"Audio path : Dpvco into mixer and then into Diode Dream Vcf .
The oscillator wave at first it’s saw and later in video becomes square. The sequence is in 303 acid style using a lot of RF modules like VCAs - mixers and vc envelopes for making the 303 accent function. A modified RD6 is used as drum machine."

"5 Pole diode ladder filter with multistage variable out of low pass and band pass

Diode Dream VCF is a 5 Pole diode ladder filter but instead of diodes, the circuit in the filter core section, uses transistors in diode configuration.

The filter has a switch selecting between 5 or 4 STAGES of filtering.

You can access the low pass output via the LP out jack.

There is also a VARIABLE out with a dedicated knob. That knob is a mixer of the different pole outputs that are opposite in phase and in the middle, it gives a band pass [BP] out. When in BP the gain is lower in volume which is completely normal.

VARIABLE mixing knob can be altered from less poles to more poles, more specific, VARIABLE out sends 1 or 2 stages at left side and 4 or 5 stages in the right side. That depends from the position switch of STAGES, so if the switch is in 4 position the VARIABLE out sends 1 (full CCW) and 4 (full CW) stages. If the switch is in 5 position, the VARIABLE out sends 2 (full CCW) and 5 (full CW) stages.

This arrangement also affects the Band Pass slope.

The CV-FM input has a dedicated pot for cv amount that is normaled to the audio input of the filter.

This allows for instant fm tones as the audio input becomes a modulator for the filter frequency.

If there is a jack inserted this connection is broken and you can use this knob as cv amount of an envelope or lfo.

There is one audio INPUT with amount pot and a 2nd CV input jack [CV2].

This CV input can be used as volt per octave input control. When the filter is in full resonance the module can be used as sine wave oscillator with good tuning of 2 octaves.

There is a resonance BOOST switch in order to achieve self oscillation. If the RES knob is fully closed and the BOOST is on, then the filter has still some feedback that would be very useful to emphasise the highs and lessen the low frequencies. When BOOST is off and the RES knob is fully closed and the INPUT level fully open the sound will be a bit oversaturated, so you can try turning down the INPUT level knob at 2-3 o’clock .

The filter has discrete through hole components with low noise transistors that are hand selected one by one with very high hfe values and are also matched in pairs for the buffer differential amplifiers and the input output stages of the ladder. An IC opamp is used for resonance gain compensation.

In the original design when the resonance is turned up the gain of the filter decreases drastically. The filter now has resonance gain compensation and while it still loses some gain when in resonance, the gain difference, is now is acceptable and the sound of the filter is pure and warm without losing the character. The resonance compensation is achieved by increasing the input gain while the resonance opens, so this gives a special character.

Because of the filter design the input signal does not clip instantly but instead it saturates the sound musically and the more you push it the richer the output in harmonics and natural and musical compression.

When the resonance is in self oscillation and the audio input is pushed, the sound gets glassy and squelchy. This filter gets acidic but it maintains the clarity of the high end, yet sounds warm and very rubbery. Detailed bass, creamy mids and crispy smooth highs.

Many different tones are waiting to be discovered by the user dealing in different combinations of the input gain, the resonance, the frequency FREQ knob and the VARIABLE shape of the filter."

Sequential Pro 3 SE Hybrid Keyboard Synthesizer (Special Edition) SN 00722

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

via this listing

Additional Perfect Circuit listings

CLICK FOR MORE »

Let's Get Fenestrated

video upload by

"Triple window comparator, each section has different features.
https://www.nonlinearcircuits.com/mod..."

"This module contains three individual window comparator circuits. They all work slightly differently from each other and somewhat differently from regular window comparators.

These are particularly useful circuits to create gate/timed events from chaos signals, or any other CV signal. It can also be used for pulse width modulation at audio rates, lots of good sounds to be found.

The rather grandiose names for each comparator came from a paper - Some Special-Purpose Comparator Circuits by H.K Verma. The actual circuits are different but two are inspired by the ones presented in the paper.

1. Special Comparison Instant – this is probably the most normal window comparator of the three. The pots can be used to set the high and low voltages between which the output gate will be high. You can also patch in CV signals to alter the high and low settings.

2. Comp for Concurrent Magnitudes – this will output a gate when the signal on Input 1 is compared against the setting of the SET/In2 pot. If no signal is on In 2 then the pot sets a fixed voltage, otherwise the signal on In 1 is compared with the amplitude of the signal on In 2, which can be attenuated by the pot as desired.

The extra feature of this circuit is the Level pot can set the gate level (up to 10V!) or you can patch a signal into the LEVEL input and create envelopes or bursts rather than gates.

3. Comp for Restricted Openings – this one has a pot (WIDTH) or CV control to set and change the gate width. In1 and In2 are summed together and compared with the level chosen with the SET pot.

Building is fairly simple, just be mindful to bend the LEDs slightly upwards to shine thru the windows from the bottom. It is good to use super-bright LEDs in this module as they have to shine thru the PCB panel."

Ekzil - Emerald coast : Circuit Track / Volca Sample / Volca Keys & Bass

video upload by Geoffroy AULAGNER

"#5 of my monthly challenge 😁
I know I'm late 🙄.. one more time, because the outro tooks me a lot of time, but I think it was worth it !

This time I decided to create a more complex setup, including 3 Volcas 🎹
What do you think about my transitions with the Volca Sample ? I wanted to try something new ..

The setup:
Novation Circuit Tracks: Drums, arpeggio, pad
Volca Keys: Lead melody
Volca Bass: Bass
Korg NTS-1: ping-pong delay, reverb, chorus, build up with the noise oscillator"

CircuitTracks ProVSmini NTS-3 / Original / Jam

video upload by cocolobeat / ココロのサケビ

Novation Circuit Tracks
Behringer Pro-VS MINI
KORG NTS-3

Paperface 50 | Serge Origins

video uploads by

Playlist:

1. Paperface 50 | Serge Origins | Episode 01 | Visual Language

This is the first video of a seven episode playlist. It features the Paperface 50 'Helios' and 'Tempo di Roma' panels which are part of the 50th anniversary release and updated by Serge himself. These are the designs that started it all back in '70-71.

Serge used pre-drilled grid panels where all kinds of DIY circuits could be added. The front was made of a paper template where you could write down your labels. Commercial designs followed, where the typical flowchart symbols were used. This video tries to explain what they mean.

I will not be doing more 4U videos because this channel is focused on eurorack only, and focus is important. However, I recently committed to a lot of Serge euro modules and the Paperface started this fever. I was completely unfamiliar with Serge except for his contribution to Maths. So this is a bit like an 'origin' story and a tutorial for those who are interested in Serge. All episodes can be used to learn what the Eurorack modules have to offer.

2. Paperface 50 | Serge Origins | Episode 02 | OSC and OSC+

The Helios panel has two VCO's, named OSC and OSC+. The extended VCO also features a pulse out with PWM and three noise outputs. They have three (3!) 1V/OCT inputs, where two are attenuverted. The Sine outputs have a waveshaper CV. Simple, but amazing and really powerful for all kinds of modulation scenarios.

3. Paperface 50 | Serge Origins | Episode 03 | Smooth Stepped Generator

The SSG is one of the most versatile utilities in modern synthesis. At first glance it's just a triangle wave (smooth) and a sample/hold circuit, but it can perform a lot of different tasks. The SSG also has a modern V2, the GTO.
So this video may be of some use for new SSG and GTO owners in 4U and 3U.

4. Paperface 50 | Serge Origins | Episode 04 | Noise and Feedback

I didn't expect too much from this episode, just filtering a bit of noise, triggers and self-oscillation on the filter. But it made me understand why Serge is so often used to make feedback patches. I am aware I am only scratching a huge surface here. Feel free to share your feedback tips in the comments so we can all benefit.

5. Paperface 50 | Serge Origins | Episode 05 | The Rhythm of Rome

My borrowed Paperface 50 also features the Tempo di Roma panel, a clever classic sequencer featuring two 4-step sequencers, each with three rows of CV values (roughly equal to notes), a gate row when a stage is reached, and stage selectors that double as keys and length controls.

It also has an 8 step gate sequencer, two bidirectional temporary sequential switches and one bidirectional alternating switch. Finally it features a logic circuit that can output the Min or Max of two CV values (Peak and Through).

It may be a powerful sequencer for 1970's standards, but it's really classic and vintage in the digital 21st century. However, it's also responsible for that classic vibe you will not find on modern sequencers where everything is perfect.

6. Paperface 50 | Serge Origins | Episode 06 | Waveshaping

This episode is about the original Serge Triple Waveshaper, that can be used both in series as in parallel. They are three identical rectifiers, capable of turning basic waveforms into many different complex shapes, or turning complex shapes into more basic waveforms. Since the Helios panel doesn't have a dedicated VCA, I found a way to use a waveshaper to turn the filter into a convincing low pass gate. I don't think I've heard this trick before since most Helios videos are 'legato'. But maybe everybody knows this already :).

When I started this video I had a 'problem' with working with raw sounds and scopes. I don't want to be such a channel because it also gives the impression that I have a technical background. I don't. So I turned it into a Symphony for Orchestra and Waveshapers. In C minor. It's actually quite fun to 'score' a noisy VCO.

7. Paperface50 | Serge Origins | Episode 07 | Integration

This is the final episode of the series, where we'll go from 4U Banana to Eurorack and back. I was expecting a lot from this episode because i could finally add a quantizer and stereo effects. Sure it worked like a charm, but it also took away a lot of the magic and purety, degrading the Serge to 'just a bitg module' in a larger collective. I think I understand now why so many 4U users don't add too many bells and whistles and listen to all the little details hiding in the waves.

BugBrand Weevil Module

video upload by BugBrand

"A basic walk-through of the new Weevil module for BugBrand Modular.
1) the individual oscillators, then RingMod1 + Power Starve behaviour
2) processing a static VCO
3) then using a rhythmic gate into the audio input
Support from Penrose plus, off camera, a CVCO & the ever present DDSR.
--- https://www.bugbrand.co.uk/product/we..."

via BugBrand

"Back in the Old-Blues days, I tried to port the Weevil design into the modular format but it was a challenge.. The circuitry of the regular Weevils is really very simple & the chaos comes from circuit-bending (an unconventional approach!) – the difficulty was how to add voltage-control features to this simple circuitry (modular approaches are quite a bit more involved). So while I did a design back then which was enjoyed by bug-users (SYN1 Weevil), I never thought it quite captured the chaotic sonic worlds of the ‘true’ Weevils.

For a few years I put the Weevils to bed, but have recently come back to thinking on them – so, looking again at modular approaches, I’ve come up with something that I feel works things a bit differently and, while it still feels a bit different from more regular/simple Weevils, it offers a whole host of chaos & noise.

See the block diagram!

First off we have the power starvation core – this unfortunately couldn’t viably be voltage-controlled. Turn the Starve dial fully clockwise for regular/full-power usage. When starved, everything goes a bit nuts, everything interacts & we get to much more noise-based areas, though note that all outputs pass through circuitry to ensure they remain ‘full-strength’ (all are 0V to +10V). There is also a Stable switch which adds a little smoothing – it isn’t exactly stable, but it is more-so/different.

There are two voltage-controlled oscillators ranging from c.0.5Hz to 20kHz from the front panel (they can go slower with external negative CV). There are CV inputs with depth controls & polarity/mute switches for each Osc plus a CV Both input which affects both Oscs. The Oscs track 1V/Oct reasonably well, but are not temperature compensated, nor do they have the best high-frequency tracking. The two Oscs interact a little, especially so when starved. Each Osc has an independent banana output + LED indicator.

The basis for Weevils was a simple cymbal noise-source generator which quasi-ring-modulated square waves together for richly (en)harmonic tones. Here we have a first RM combining the two Oscs, followed by a second which mixes RM1 with an external signal which has passed through a drive/squaring circuit so that it matches the Weevil-core (inc. starvation). This audio input is quite level dependent so do play with the Drive control – you can also input gates/clocks/etc. to the input which can generate some interesting behaviours when using Starve. Note that without an input signal, the output of RM2 will appear quiet (ie. it isn’t silent, but it isn’t regular amplitude).

All in all, the Weevil Module is inherently quite chaotic compared with my other module designs – that is, I feel, its strength & interest! Experiment, feed different signals in, feed outputs back into CV inputs, etc."

Arp Rhodes Chroma Keyboard Expander Dual Channel Voice Boards

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

via these listings

Additional Retro Gear Shop Listings

"Rare vintage spare Dual Channel Bd circuit board Assy-7225601 Fab 30-5422801 for your Arp Rhodes Chroma Keyboard or Expander. Previous tech notes it was tested and working in 2015, but I have not tested it as I no longer have any Chroma keyboards to test with, so this is sold as-is with no guarantees, for parts/repairs. Very useful if you have a Chroma you need to restore and looking for this piece. We have many other rare Rhodes Chroma parts for sale, please check out our other listings."

Note the white board below is a Rev 3 board: "Assy-7225601 Fab 30-5422801 Rev 3"

CLICK FOR MORE »

Roland Jupiter 4 with Oberheim OB-X8

video upload by Circuit 3

"#SynthSunday Roland Jupiter 4 with Oberheim OB-X8"

Pin Electronics Modular Introduces the PORTELLO - a Compact Portable SYNTHI Based System

via Pin Electronics

A compact portable matrix modular system based on Synthi 100, Putney and Portabella modules. The 8 modules will be connected via a 10×10 high quality Ghielmetti pin matrix similar to the Portabella.

MODULES & SPECIFICATIONS

OSCILLATOR 100

Frequency Range: 1-10 Khz

Waveform 1: Square & Pulse shape variable via pot and matrix. Waveform 2: Sawtooth & Triangle shape variable via pot only.

OSC Sync via Trapezoid or external source.

FILTER / OSCILLATOR P1969

A multi-purpose filter & sine oscillator

Range: 8Hz – 18KHz

Modifications: slew / unslew switch

18dB / 24dB switch (latest circuit design!)

ENVELOPE GENERATOR

Attack: 2ms – 1 sec

On time 0 – 2.5 sec

Decay: 2.7ms – 15 sec

Repeat/Off: 10ms – 7sec. (max. rate 60Hz)

Trigger: +4V

Modifications: attack/decay time extension, inverter pot

SPRING REVERB

Decay time: 1.75 – 3.0 sec.

Springs: 3

Voltage control of mix “wet/dry” via matrix.

INPUT AMPS CH. 1 & 2

Inputs for audio or CV (Ch.1 1V/oct. pre-calibrated)

ENVELOPE FOLLOWER

external input socket

SLEW LIMITER

ext. input socket

OUTPUT AMPLIFIER

with Filter.

GHIELMETTI MATRIX 10×10

including 10 white 2K7 pins

OUTPUTS

1 x Mono sockets

1 x Scope out

INPUTS & CONTROLS

1 x CV/ via CH1 pre-calib.1V/oct.

1 x Audio Input

1 x Gate socket

1 x OSC Sync Input

1 x Envelope Follower Input

1 x Slew Limiter Input

EXT. POWER SUPPLY

18 V/DC 1670 mA 30W 90-240V

DIMENSIONS

37x27x12cm (closed)

WEIGHT

2.8 Kg

NDLR Jam from 2019

video upload by Circuit 3

"#NewMusicMonday another archive find! This NDLR jam sent generative style notes based on my input to multiple synths. I like to experiment with non-song based music to see what happens. #synth"

Melbourne Instruments DELIA // It's got motorised faders!

video upload by Starsky Carr

"From Superbooth 2024 DELIA is Melburne Instruments latest synth. The Nina was a desktop fuly analog synth, this one is a hybrid with keys.

Just a quick demo from Superbooth, but if I can get my hands on one :).

FYI I spoke with Signal Sounds - the distributor - while I was there so hopefully we can sort something soon."



Additional details and pics via Melbourne Instruments:

Motorized Morphing Polyphonic Synthesizer

49 Key Velocity and Aftertouch Sensitive
DELIA is a bi-timbral polysynth inspired by the motorized control panel and voice architecture of the original Melbourne Instruments’ Nina. Delia introduces a 49-key velocity and aftertouch sensitive keyboard, new multi-mode analog filters, high pass and low pass resonance control, 3-stage overdrive, and even more modulation possibilities.

Analog soul with a computerized brain

Using a combination of true analog filters and virtual analog modelling, DELIA retains the vital sound of massively overdriveable analog ladder filters, while using a digital front end to run modelled VCOs, wavetables, high pass filters and more. The powerful combination of analog plus digital is harnessed by Delia’s unique 12 note mode, using 12 complete oscillator banks into the 6 filters, limiting note stealing without compromising the sound, and fully unleashing Delia’s bi-timbral operation.

Discrete Multi-mode Filters

DELIA’s true analog low pass filter is the heart and soul of the sound engine — warm, full and sweet or fearfully aggressive. It is complemented with a high-pass modelled ladder filter, which can be linked for bandpass and notch operation. With 12 and 24dB slopes and separate high/low pass resonance control there is huge scope when shaping sounds, from the most delicate plucks and pads to the wildest overdriven bass and lead sounds imaginable. Delia is an inspiring creative companion and dependable instrument for musicians and composers, no matter what their level.

Know your Filters! Analog + Digital

DELIA’s filters have an analog and a digital section per voice. The analog filter is the classic discrete transistor ladder filter offering a choice of 24dB or 12dB per octave operation. Prior to this filter is an analog variable overdrive circuit that can push the filter from normal operation to complete distorted collapse of the transistor ladder, adding richness, aggression and body to your sound.

The HP filter is a digital transistor-level mathematical model of a 24dB ladder filter, based on the gold-standard Ebers-Moll transistor equations. This gives an almost perfect match to the response of the analog circuit, including the overdrive response, resonance and natural filter frequency variations.

The High Pass filter is less important sonically, so the choice of digital instead of analog reduces cost without compromise. Having the Low Pass filter second gives true analog character where it counts.

The filter is Multi-mode with 3 ways to configure. The High Pass and Low Pass cut-off frequencies are separately controlled with 2 knobs, so the overall operation can be High Pass, Low Pass or Bandpass. The separate HP and LP resonance controls offer flexibility to shape the sound including vocal-style formants. Delia’s LINK function locks the distance between the Low Pass and High pass knobs, setting a constant width Bandpass for both manual control and sweeps using the VCF envelope or other Modulation Matrix controls.

Total Recall. It’s not a dream!

The motorized journey does not end at Recall and Morph; Delia’s ‘MOD Mode’ automates the Modulation Matrix setup. As you move between the 20 modulation sources, every knob changes position to display its modulation amount. No need to tweak the panel every time you switch sources or destinations, no matter how many modulations or slots are active. Delia gives you a sound design workflow that truly flows - combining the flexibility of a soft synth with the tactile experience of a classic hardware synth.

Morph every parameter, then Mod it!

DELIA’s A/B Morph function lets you explore and sweep through timbres like no other. The A/B Morph sound is an actively calculated change in parameters between the A and B patches including the entire modulation matrix. This provides the ability to instantly create a new preset based on the Morph position that is neither the A or B patch, but instead a totally new sound. Morph is also a ‘MOD destination’, giving you even more creative control via Aftertouch, Mod Wheel and Expression.

Step into an infinite matrix of sound

The motorized journey does not end at Recall and Morph! Just like Nina, Delia’s ‘MOD Mode’ automates the Modulation Matrix setup. As you move between the 20 modulation sources, every knob changes position to display its modulation amount. No need to tweak the panel every time you switch sources or destinations, no matter how many modulations or slots are active. Delia gives you a sound design workflow that truly flows - combining the flexibility of a soft synth with the tactile experience of a classic hardware synth.

Building on innovation

DELIA inherits many of the acclaimed features of Nina, including 4-Quadrant Analog VCAs, Morphing, Digital Effects and Digital Wavetable Oscillator. Adding to these features are the inclusion of Sequencer Phrase Looping and Overdubbing, and the ability to assign your favorite effects parameter to the Effects Macro control.

Under the hood Delia is a beast! Virtual Analog Oscillators model Nina’s discrete circuitry but add cross-modulation, and Delia’s 20 modulation sources and 40+ mod destinations with unlimited slots gives sound designers an almost endless spectrum of sounds. Two digital effects processors paired with classic effects presets and the option to run in series or parallel offers creative freedom. And with the ability to save more than 16,000 presets inspiration and artistry will never be limited by available memory or slots

Waveform, Envelope and Wavetable Visualizers

Delia’s high definition LCD also provides useful Waveform and Wavetable visualizers, as well as instant feedback and display for almost every function as you interact with the control panel.