"The Hexajam is a musical instrument design for maximizing improvisation and collaboration. It is simple, yet endless fun for musicians of all ages and skill levels. Learn more about it at: Hexajam.org"
KEYBOARD, BASS, DRUMS
The Hexajam is perfect for beginners of any age.
Each instrument is intuitive and requires no prior knowledge or technical skill to start making music.
Three instruments in one unit creates an instantly fun and collaborative musical experience.
EXPLORE SCALES AND TONES
Each instrument module has 6 unique tone settings so players can explore and combine different sounds.
There is a universal switch to select a scale such as major, minor, lydian, and blues. Within the selected scale, there are no "wrong notes," and the keyboard and bass are always synced.
INDIVIDUAL HEADPHONES + AUX
Three headphone outputs allow multiple Hexajams to be in the same room.
This feature is ideal for an education environment because it allows different groups of students to simultaneously explore their own musical worlds.
The Hexajam can also be played from an amp or PA system."
"Testing the system for Superbooth 24 - The new modules also feature a name change as the brand is slowly moving over to Tobinski. New modules due to be released this year are:
Sequencer - 2 banks of 8 voltage sliders, each bank referenced by 2 independent 8 step sequencers for a total 4 sequencers. Each sequencer features start and end loop points plus external clock inputs. The sequencer has 8 voltage outputs, 6 gate outputs plus transport controls for the internal clock.
Sequencer Expander - Adds a host of extra functions to control each of the 4 sequencers. Including CV over loop start and end points, gate length, step order and many more...
Dual LFOs - 2 LFOs with 16 waveform types. One LFO can be synced to a clock while the other resets to an incoming pulse, plus cv and cross-modulation options for all parameters.
Harmonic Timing Generator - Can be used as a Harmonic Oscillator or Harmonic LFO that can clock each the 4 sequencers in the Sequencer module. The module features multiplier inputs x2, x3, x5 and x7 to multiply the internal oscillator or external sources. It also has 3 outputs for the multiplied waveforms that can be CV or manually addressed using the pushbutton switches or pots.
Interpolating Scanner - Internally connected to the Harmonic Timing Generator and features not only an 8 input scanner with CV options but also has 8 VCAs that act separately from the scanner with their own outputs, plus mixer outputs for ODD, ALL and EVEN for both the scanner and VCAs to allow for stereo effects among other possibilities.
Dual LPG/VCA - 2 x LPG/VCAs in one 6hp module that combine the Dannysound MM VCA based on the classic Mini Moog VCA and also the classic Buchla LPG design (used throughout this clip!) so famous for it's acoustic tone.
Come say hello at Superbooth, I'll be in the Bungalow Dorf with some other great manufacturers!"
"Sequencer synced to malekko varigate 8 doing the drums and resetting the bass line coming from sequencer CH1. Voltage block is controlling the step order of sequencer CH3 that does the percussion sounds.
Percussion and bass sounds from the EN129 and Cali oscillators using Timbre and Dual LPG/VCA modules.
Drum compression using the Dynamics with some added noise to glue the drums together a bit."
"Sorry about that title. The MARF is short for the Multiple ARbitrary Function generator, a huge Buchla design carrying the model number 248, and is part of the 200 series. It's not easy to compare it with anything, but you could see it as a 16 step 0-CTRL, a Rossum Control Forge and maybe even the 250e circular Dual Arbitrary Function generator (DARF) like Frap Tools USTA. I contacted Todd Barton (thanks so much!) to be able to study a few MARF images. The sliders made me think of Mutable Stages, and the control section reminded me of Marbles. While getting lost on the way, I finally got a patch that sounded similar: 'music that sounds like dancing butterflies'. The recipe involves variable timing, notes, a quantizer, and a transpose. You may also need a trigger or gate when a segment runs or finishes. There's a lot to explore here, and I don't think you can find a MARF in a single eurorack solution. I tried to approximate it, but I also needed Maths to do envelopes and gate extraction. It took a while to make this video and I wasn't sure about the results until the very end. Then suddenly, it worked.
You'll need a lot of stuff to do it, but there may be smaller solutions. I'll revisit this idea when my Control Forge arrives and I'll be able to combine USTA with the CF.
This is a complex video so I hope it will make a bit of sense. It would have been better to figure all this out and then make a video. But you'd be missing the fun of exploration. There are plenty of useful examples of how 'factory' Stages can be used, but I installed the Qiemem firmware for max flexibility. In the end I only used its 'random segment' feature in this video, but it doesn't play a role in the MARF patch. You can do this with factory Stages but it still requires a chain of 2 or 3. You can use any sequencer with a clock input for this. A DFAM will also help you to cover the time/level sequence.
Installation requires playing a .WAV into the module which can be bit of a drag. I recommend using a eurorack sample player like the BitBox for a high success ratio. Using a phone, PC or pad can be a nightmare. Also, I am not sure if the firmware works on a clone, please comment if you tried it. https://github.com/qiemem/eurorack/re...
I am still trying to wrap my head around it. Even though Stages and Marbles are now discontinued, they're easy to find as fully functional clones. With Eurorack, we have the 'power' to build our own synths, or get inspired by designs which are still amazing and modern after +50 years. I hope it inspires you too."
"Today, we are celebrating the release of the first set of ART-equipped modules, marking the first time this technology is ready for purchase. We are starting with the release of the ATX1 Analog VCO, Vortex Digital OSC, Octopus USB/MIDI interface, ART V/OCT Quantizer, and Control Path dual analog envelopes plus VCA.
On our website, we have dedicated the ART landing page as the knowledge base HQ for ART. There, you will find plenty of educational videos, module video manuals, and uploaded video playlists of music filmed during beta testing. ART is simple to use and easy to understand, and with those videos, we made sure all aspects and potential misinformation have been addressed. Additionally, more information is in the process of being added in the coming days for both DIY enthusiasts and module makers on how to implement ART, including a free reference design that adds ART to Mutable Instruments Braids and Plaits.
The creative process of making music on a modular synthesizer is a unique tactile and aural experience. With ART modules, we are entering the territory of tunable instruments and polyphonic multi-timbral compositions but with the sound design power and immediate interface of a modular synthesizer. The initial release focuses on the mono VCOs that you can use to build voices quickly or combine for discrete polyphony. Very soon, we will extend the lineup with the fully polyphonic ART modules and the release of the Polytip patch cable."
A classic all analog saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analog polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. We consider the ATX1 the best sounding analog VCO we ever created.
"This video is about Rung Divisions, by Fancyyyyy Synthesis. It’s one of the most inspiring modules I’ve used recently, but it’s also quite a hard one to sum up in one sentence.
It has two main components. The first is a clock divider which outputs pulses that you can combine in two buses to create polyrhythmic patterns. That drives a universal shift register which outputs pseudo-random, chaotic or looping stepped voltage patterns. It’s an evolution of Rob Hordijk’s Rungler circuit, which is at the heart of the Benjolin synth. And there are dozens of interesting musical applications for it - a few of which I explore here.
NB: Fancyyyyy Synthesis sent me this unit to check out, but I don’t get any other sort of payment. This is a demo, not a review, and this channel is a hobby, not a job, so I only showcase things that I’m genuinely enthused about.
More stuff from me:
https://tomchurchill.bandcamp.com/
https://soundcloud.com/tomchurchill
https://www.instagram.com/tomchurchill/
Chapters:
00:00 Intro and patch previews
02:46 Rung Divisions overview
05:54 Drum trigger sequencing
09:54 Melodies from pulse divisions
14:14 Shift register sequencing
20:15 2-channel pitch sequencing
24:00 Patching a voltage-controlled clock divider
27:42 Shift register as a VCO
30:22 Rungling for chaotic sequencing"
Rung Divisions combines a universal shift register, a “divide by n” pulse divider, analogue noise, and several logic and binary operations. These functions synthesise an array of predictable and unpredictable digital signals at arbitrary time scale.
Rung Divisions’ primary use is as a complex polyrhythmic gate generator that drives a chaotic / pseudo random / looping stepped cv pattern generator, with voltage control over the pattern “direction”, length, and chance of the pattern looping. The combination of these features can be used to generate auditory illusions similar to a stroboscopic effect – like the visual aliasing of a wheel that appears to stand still and reverse direction at speed. Rung Divisions is built with solid state & discrete logic blocks to work at frequencies between 0–40kHz. The module is designed to drive multiple voices with gate patterns and CV, or to generate audio rate mayhem - these functions can be combined through patching with other modules that can take input signals over a wide frequency range.
Rung Divisions behaves in many surprising ways with feedback and self patching - the module has propagation delay compensation to allow for all outputs to be used in feedback loops.
Polyrhythmic Clock Divider Random / Looping Sequencer Chaotic Stepped Signal Generator 12hp 35mm deep +12V 58mA -12V 42mA Complete redesign of the 2018 module, building on the original features in multiple ways: Universal shift register - can shift data in two directions Dual gate bus with three position switches CV over pattern length, shift direction and chance of loop Analogue noise output Clock pulse width affects all outputs 1-bit, 3-bit and 8-bit data encodings All solid state and discrete logic, runs at wide bandwidth Expander ports for upcoming dual oscillator, cv addressable clock divider, bit sieve and random voltage sources
"Using a step sequencer to change VCO pitch per step: The Precision Voltages is a convenient way to offset VCO frequencies musically, by pitch increments of semitones and octaves, which can be either added to, or subtracted from an incoming CV signal, such as a sequencer or keyboard controller. This can have many uses, not just for melodic control of oscillators, but here is a particularly useful function for pattern-based pitch sequencing. Modules connected to the outputs of the Precision Voltages will be sent fixed voltages of preset musical intervals, based on the 1V/Oct scale. These voltages, here represented as precise intervals of semitones and octaves, are selected by the two rotary switches. With no external CV signal connected to the inputs, the module will function as a source of preset fixed voltages, with a huge range of +11 volts to -11 volts (10 octaves + 12 semitones). These can be conveniently switched on or off with the A & B switches. When an incoming CV signal is present, this voltage sources is added to, or subtracted from the signal, meaning it can be used to easily shift the pitch, frequency, or CV level of modules it is connected to. This is ideal for shifting the pitch of VCO's to create harmonies or simple chords, or for offsetting CV levels in any application that uses them. The Gate input of this module affects the value of A only, and will allow it to be turned on with a high gate signal, or off when the gate is low. B will remain unaffected, and will continue to output the pitch/voltage offset selected by the rotary pots and switches. The 'OUT' output will combine both A and B, depending on the switch position next to it. As a result, when A is turned off, either by the switch or a gate signal, then only the value of B will be output here. Official website page: https://ajhsynth.com/Precision.html
I'm also using the new Chance Delay module on this patch for some generative randomness/probability - it's not necessary, the sequencer can be connected directly to the Precision Voltages Gate input.
SEQUENCER ADVICE: Most sequencers will allow you to change gate length, sometimes referred to as 'duty', as is done in this video, but you'll need to consult your sequencer's documentation if you are not familiar with how to do this. On many it is obvious, but others not so much. Also, some will allow you to change the gate length directly and quite precisely, whilst others will only allow you to change it in fractions or percentages. This may mean that you can't quite get the gate to span the entire step length, meaning that the pitch modification made by the Precision Voltages may be heard ending prematurely. This is the behaviour of the sequencer, not the module. However, there is a way around this... A gate signal is just a voltage of either zero volts (off/gate is low), or a minimum of +5 volts (on/gate is high). Gates are pulse (square) waves for this reason, as they are simply one of these two states, and so some sequencers will also refer to gate length as 'pulse width'. However, all the gate input needs is one of these two voltage values to turn it on or off. This means the CV outputs of a sequencer can also be used, so long as your sequencer has a range of at least zero to +5 volts, which they almost certainly will. Therefore if you connect the CV output of the sequencer to the Gate input of the precision voltages, set all of the step pitches (or pots such as on the SQ1 used here) to zero, when you run the sequencer the pitch changes set by the Precision Voltages will not be activated. If you then raise the pitch of a step to maximum, it will activate the pitch change on that step. Problem solved! This is not as immediate or convenient as being able to switch the changes on or off with buttons, but it works just the same otherwise, and may be helpful if you can't get satisfactory results with your sequencer, or are finding it too difficult to adjust the gate lengths accurately.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
"This playlist features granular eurorack modules that all need to process the same reference sample. I hope this gives a good impression of what the modules can do for you. They're all different, they're all great."
Playlist:
1. Grainmakers Playlist Introduction
I've been working on a huge video over the last few days and when I reached 30 minutes I decided to break it up into a playlist. This is cool! I can make updates and add new modules as they emerge. It's not supposed to be the ultimate grain guide, but it's cool to hear all modules chew on the same sample and hear what comes out. It's easy to be impressed by a bad module with a great soundsource, or underwhelmed by an amazing module that need to process something unworthy of its grains. So it all comes down to what they have to offer. And there are no bad modules. It's great fun to hear how a standard concept can turn into completely different experiences.
So this is just a short playlist introduction.
In this episode, Beads needs to chew on a reference performance.
Beads is an effect, but it can process an internal wavetable synth on its own.
3. Qu-Bit Nebulae V2 | Grainmakers Playlist
Our next contender in the playlist is the Qu-Bit Nebulae. It may be a bit underappreciated, but wow. A unique feature is elastic audio for time stretching.
4. Qu-Bit Mojave | Grainmakers Playlist
Next, Mojave needs to chew on Sebastian Lexer's grand piano.
Loopers are often confused with granular synths, especially with the Morphagene. Loopers don't grain or spray, they're digital tape machines.
Sometimes, when you think you're into grains, you'd actually been looking for a looper. It's time to show the difference, so they're an important addition to the lineup.
6. 1010Music BitBox MK2 | Grainmakers Playlist
The BitBox may not seem an obvious choice for granular processing, but if this playlist were a competition, then BitBox MK2 would be the King of the Grainfields. Granular processing offers limited CV support in the current firmware, but the sheer processing power is almost an insult to the other modules. Fortunately, it can't offer the hands-on experience like dedicated modules.
7. Error Instruments x TINRS Brinta | Grainmakers Playlist
8. Melotus Versio | Grainmakers Playlist
It's a Versio. What can I say. Awkward, special, amazing and breathtaking.
It's unique feature is no pitch control. While this sounds like a flaw, it's almost a musthave feature when you run notes, effects and chords through it. Don't touch the melody. Just make it grain. Top 3 module in my list. And if it doesn't fit your needs, install a different firmware! If you own a different Versio, give it a shot. Nothing creates techno atmospheres and backdrops like Melotus.
9. MISO Cornflakes | Grainmakers Playlist
This is the last one for today :). Still a few more modules to cover, but it's already a great list. Here's MISO Cornflakes chewing on the Lexer piano. Again, it's a totally different experience, because Cornflakes adds special harmonizing features and stacking of grains. No other module has it - as far as I know. It can make wonderful new sounds from something familiar.
10. Instruo Arbhar V2 | Grainmakers Playlist
I already made plenty of Arbhar videos, but this is the second V2 video. In this playlist, all granular modules in my collection need to process the same audio file so it's easy to figure out what they do. Now it's Arbhar's turn.
11. Clouds & Clones | Grainmaker Playlist
This playlist would not be complete without a tribute to Clouds, one of the first modules in Eurorack that brought grains to the case. Clouds was launched in 2015 and discontinued in 2017. But that wasn't the end of it. It's been revived and extended in many forms, making it one of the most successful modules in Eurorack even today. From a techical perspective, Clouds is no match for the modern grainmakers in this playlist. But from the perspective of production value it's still a super useful module, especially if you manage to install the Parasite firmware. It's easy to forget that granular synthesis doesn't need big buffers. Sometimes a small 1 sec buffer is exactly what you need to get that desirable classic granular stream.
12. Combinations | Grainmaker Playlist
I got a question if Lubadh and Mojave would make a good combo. I had no idea. I figured this whole playlist is still 1-dimensional. So I patched these two up and then and I just had to make this video! I am still using the reference track so you get a good idea of how big the sonic playground becomes when you combine any looper with any granular engine. Results may vary, but wow. The bottom of the Rabbit Hole simply has a doorway to the next one. And it always gets deeper than the one before.
13. ADDAC 112 | Grainmakers Playlist
I may have unintentionally kept the best for last. The 112 combines a looper and granular engine in one big module. This is the last entry in the playlist.
The 112 will return soon for a dedicated video with some carefully selected samples to play with.
14. I missed a few | Grainmakers Playlist
After finishing the 112 video I was confident I covered enough 'grainmakers' in this playlist. I doublechecked if Disting EX and Phonogene should be in it, but no. The third one definitely needs to be on it! It doesn't show up when you search for 'granular' on ModularGrid, but it immediately went to my personal top #2.
Playlist: (you can use the player controls to skip around)
1. Synthfest UK 23: Sequential - Trigon 6 Desktop
At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.
At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.
Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's
"techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."
"Last but not least we look at Kaivo. Kaivo is what I call experimental physical modeling. The instrument itself is fully customizable (modular) and when you combine that with a granular sound engine and a physical modeling section you’re going to get some wild results. As you’ll see in the video what you select for the resonator and for the body (the physical modeled modules) has a huge impact on the final timbre that’s produced. Note that unlike PianoTeq or String Studio this instrument requires you to use samples. Therefore physical modeling is just one aspect of this instrument and is used more like an effect that you can blend to taste rather than a dedicated method."
"I try to figure out all the things that granular synths can do with the help of the granular synth daddy himself, Barry Truax.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
0:00 Intro
2:05 Time Stretching
5:09 Barry Truax's Granular Synth
7:49 What Is Granular Synthesis Actually
12:25 Outro"
Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-touse semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based)."
"Three switches to control the power supply of three Eurorack modules or three flying bus."
Transpos Eurorack
"Transpos is both a transposer and a three channel voltage adder or subtractor for Eurorack modular music"
Skippy is a matrix and non-matrix polyrhythmic sequencer (linear and logarithmic) which offers four completely independent tracks with a very simple interface: one button per track, one function per screen, no sub-menus.
The Triphase Oscillator is a Eurorack Module from New Systems Instruments that lets you explore the space of phase interference. It is an oscillator with three independent phases, with modulation, and a bipolar mixer to combine them.
The first / last patch uses two Triphase oscillators. The lower Triphase is taking two outputs panned left and right and one panned center, with different LFOs modulating the left and right phase. This gives it a stereo chorus type of effect. The higher/melody Triphase has an envelope controlling one of the phases, and an LFO controlling the other two. This makes a square notch that is large at the beginning and then becomes smaller, with both the width of the notch and its position relative to the saw changing. End of chain reverb is added. There are no filters, VCAs, or other modules making or modifying sounds.
Most of the other patches should be pretty self-explanatory. They are recorded dry.
The melodic patch is sequenced from a keystep.
The FM patch is doing audio rate FM from the Inertia, which is configured as an oscillator here.
The hard sync patch is synced with an offscreen oscillator, and uses the Inertia as an envelope to control the pitch of the Triphase."
"New Systems Instruments announced today that the Triphase Oscillator is now shipping and available. The Triphase Oscillator gives you three sawtooth waves with independent control over the phase of each wave, combined with a bipolar mixer. This creates a comb filter pattern in the harmonics, emphasizing some harmonics and canceling others.
The Triphase Oscillator works with phase cancellation, combining three waves at different phases and polarities to remove or reinforce regularly spaced harmonics, such as odd harmonics or every third harmonic. With the bipolar mixer, you can control how the waves interact, canceling or reinforcing parts of the spectrum either fully or partially. Applying CV to the phases creates variable-width pulses, subtle detuning effects, and a continuously moving soundscape. Phase cancellation is related to pulse width modulation, but pulse width modulation only has one dimension of control instead of the multiple phases and polarities of the Triphase Oscillator. A closer relative is a chorus effect, which creates frequency-dependent phase differences by delaying a signal.
One way to use the Triphase Oscillator is to mix all three saws at the same polarity, modulating their phases to create a supersaw, similar to mixing multiple detuned sawtooth oscillators. This creates a classic thick analog sound, further enhanced by the internal CP3 type mixer—a discrete transistor mixer that reportedly gave the Moog IIIp modular system a good part of its sound. With the individual outputs, you can also use a full featured stereo mixer and pan the saw waves left, right, and center, giving a stereo supersaw or stereo chorus type of effect.
Apart from its unique phase modulation capabilities, the Triphase Oscillator is a very capable analog oscillator in its own right, giving a tuning accuracy of around 8 octaves and ranging from 1.5Hz–60kHz, well into the sub and supersonic ranges. In addition to volt per octave and CV over phase, it has a hard sync input, and a linear FM input. All the CV runs at audio rate as well, meaning the Triphase Oscillator can produce some interesting FM + phase modulation sounds.
New Systems Instruments is a modular manufacturer located in the San Francisco Bay Area, focusing on creating new analog designs based on different ways of thinking about music and synthesis.
"This is the Mixtur IV eurorack module prototype. This is the fourth design in my Mixtur series. The modules in this series all share commons traits, mainly that they all allow the music engineer to take various audio and cv signals and combine them through intermodulation (with various characteristics of each signal altering various characteristics of the other signals in ways that are often difficult to predict) and that they are all (so far) passive designs.
The name of this series, as well as some of inspiration for it's designs, come from Karlheinz Stockhausen's music and musical ideology, but the main vision for these modules is to allow the music engineer to create new sounds from old sounds and complex motion by combining simple, even static, signals.
The circuit designs come from visual thoughts, images, that are then translated into electronic components and then arranged using symmetry, taking two mirror images and combining them. These circuits are then prototyped without any breadboard experimentation and so their outcome/functionality is always, to some degree, unpredictable, allowing the designer to experience some of the "unknown-ness" of the modules that the users of the modules experience.
If you are interested in purchasing a Mixtur IV module or any other module from the Mixtur series, or if you have any questions please let me know:
"This was loosely inspired by the 'pan flute' sound from the film 'Aguirre: Wrath of God', and uses a single VCO, white noise, and envelope-controlled filtering to simulate the pipe and breath elements that form the sound. Fixed Filter Bank sculpts the noise, removing low frequencies and pushing selected highs, before being mixed into the Sonic XV's bandpass filter along with the square wave from the VCO. Importantly, the FFB's wet/dry mix is also controlled by an envelope here, a rare feature on a filter bank. Pulse width modulation from red noise ads a subtle distortion to the oscillator, and the VCA in the Dual LFO is used to ad optional pitch vibrato and VCF frequency modulation.
Patch sheet PDF: https://kvisit.com/8AE/_v8G
Aside from the flute scene (see link in video), the movie soundtrack was mostly the brilliant work of Popul Vuh, and makes the official album release worth listening to regardless of the movie, with memorable use of Mellotron. However, the Werner Herzog movie itself is equally brilliant and memorable, a captivating, immersive experience to watch, made on an unimaginably small budget, yet a direct influence on Coppola's 'Apocalypse Now' a few years later.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
PATCH NOTES:
------------------------
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. Multiple cables may branch to different destinations, this is where some form of multiple should be used.
This patch needs a lot of fine-tuning, so precise pot positions cannot possibly be illustrated, but this should serve as a starting point, from where further experimentation should be applied. The video tries to explain what is happening with the core modules, which should make it easier to understand what needs fine-tuning.
KEYBOARD: Here the controller's MOD output is used to send Aftertouch, but alternatively Velocity, or direct control from the MOD wheel/strip could be sent to the Dual LFO's CV input instead, depending on your controller and personal preference.
DUAL LFO: Output goes directly to EXP-CV of the VCO, and IN 1 of the CV MIX.
CV MIX: This module is used here to combine the CV from the LFO and Contour Generator 1, then to fine-tune it, before sending to Sonic XV and Fixed Filter Bank.
FIXED FILTER BANK 914: The IN 2 pot needs to be at zero - this sets the Dry level to zero if nothing is connected to the IN 2 socket, so that when the envelope changes the Wet/Dry level it is in fact affecting the output level of the module, as only a varying portion of the Wet signal is then sent to the Muting Mixer.
Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA, Dual LFO + VCA, CV Mix, Muting Mixer, Fixed Filter Bank 914."
Description via Buchla. See the dealers on the right for availability.
"The third iteration of one of the most used touch interfaces, the 218, as the LEM218v3: The 218e version3 Lunar Excursion Module. The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it’s been updated with a new foundation of stable, modern electronics and plenty of inputs and outputs to integrate with your Buchla, MIDI, and Eurorack gear.
MIDI Polyphony, Velocity & More!
More than just MIDI compatible, the LEM 218 v3 gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel. Send the LEM some MIDI, and it gets converted to voltages and gates for eurorack and Buchla control.
Capacitive Magic
The incredible sensitivity and accuracy of the redesigned touch bed means the lightest touch will produce triggers and control voltage for your setup. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the LEM218 a uniquely expressive controller for all your synthesizers. The configurable touchstrip adds a fantastic addition for pitch bend or as an additional modulator to patch into your system
Get More For Your Euro
Even if you don’t have any Buchla products, the LEM 218 v3 is designed to work with your Eurorack-compatible gear. Four 3.5mm jacks output 1v/octave pitch, 0-8 volts pressure, touchstrip voltage, and gate outputs for use with Eurorack equipment. Or, combine your Euro with your Buchla instruments. If NATO can do it, so can you. The sound design possibilities will blow your mind
Arpeggiate
A pulse input allows the arpeggiator to be driven by external inputs and are allowed to interact with the automated notes to make the pattern more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising
Control
The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control
Set It Up Your Way
Such a unique device will spark many ideas. With easy front panel configuration, you can quickly customize the velocity and pressure sensitivity, MIDI channel, knob behavior, and more. No cumbersome software setups, just simple settings with the keys and knobs, and you’re ready to play."
NEW YORK, NY, USA: having sold out of its initial production run, unique products-producing hardware startup Physical Synthesis is proud to announce that it is working with San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) to bring its game-changing Cicada — an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound — to a wider audience in advance of Nymph, its upcoming Eurorack module…
It is fair to say that every once in a while, a moment comes along whereby human interaction with sound changes completely. Cicada is effectively one of those moments — one of those new instruments that moves the needle in music technology. Indeed, it is pioneered by unique products-producing hardware startup Physical Synthesis as an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound. Says company founder Spencer Topel: “Cicada was the first step in introducing physical synthesis methods to the synth community; it is an award-winning interface that really lets musicians explore microscopic sounds with precise control.” Clearly, Cicada made musical waves when winning the Judge’s Special Award at the Guthman Musical Instrument Competition 2022, hosted by Georgia Tech School of Music — one of the few schools in North America that offers Music Technology as a major in undergraduate, graduate, and Ph.D levels of study — as an annual event dedicated to identifying the newest and greatest ideas in music.
Musical waves notwithstanding, ‘noise' is a subjective term; while electromechanical devices like speakers or headphones try to minimise the distortion inevitably introduced in physical systems, Cicada is designed to precisely exploit these distortion products as the basis of a new kind of synthesis. Cicada converts voltages to vibrations in a mechanical oscillator to create intermodulation — the addition of frequency content in a nonlinear system — in place of typical analogue or digital oscillators. By bringing the signal chain into a physical space, Cicada allows users to shape such content with natural, tactile gestures that truly transcend twiddling with a knob or pushing a slider. “As a violinist and composer, my experience of creating sound is highly physical,” proclaims Spencer Topel, adding: “With Cicada, I wanted to make an instrument that connects these elements, allowing musicians to produce complex, compelling sounds, but through tactile interaction.”
Insofar as actually doing what it does, Cicada receives two Eurorack-level signals that drive oscillation in a cantilevered Bridge positioned atop a Soundboard at an adjustable height. Digging deeper, distortion caused by the Bridge-Soundboard interaction adds frequency content to the input, determined by the specific qualities of the system. Self-explanatory Polycarbonate Soundboard, Foam Soundboard — made of EVA (Ethylene-Vinyl Acetate) foam, and Wood Soundboard — made of Birdseye maple — options each provide a range of resonating/filtering properties that combine uniquely with the likes of the Coral Wing Bridge — tip made of solid oak (resulting in a bright, clear tone), Coral Dual Tip Wing Bridge — tip made of premium rubber (allowing for a hard, precise attack with a balanced low-end), and Grey Wing Bridge — tip made of soft neoprene foam (resulting in a mellow, balanced acoustic effect); each pairing opens up a portal to a distinct sonic universe.
Users can dynamically change the system (and, therefore, how it is transforming signals) by adjusting the Bridge height, changing the region and degree of contact between Bridge and Soundboard, or applying pressure to either — effecting real-time, tactile timbral control, in other words.
With that being said, premium vibration damping materials, such as Delrin, and custom circuitry minimise unwanted noise, allowing the intermodulation products to shine, while the output, captured by a pickup microphone positioned beneath the Soundboard, can be monitored directly, processed modularly, or recorded into a DAW (Digital Audio Workstation).
With behaviours akin to those exhibited by a traditional acoustic instrument, Cicada is highly responsive to differences in the excitation mechanism — the input signal, in other words. As an example, striking a snare drum with a stick or using it with brushes produce vastly different-sounding results; driving Cicada with quiet or loud, spectrally simple or complex, or bass- or treble-heavy signals similarly yield very different timbres.
Though Cicada is designed to work with a Eurorack setup out of the box, one of its strengths lies in its inherent flexibility. Indeed, it can just as easily receive signals from a DAW, boosted to the appropriate 5-10Vpp level via an outboard mixer. Moreover, the choice of input is completely left open to the user: an Ableton Live loop run through Cicada acting as a physical filter to provide timbral variety over time, for example; an LFO (Low Frequency Oscillator) from a Eurorack module, generating rich percussive tones on the maple Soundboard as the foundation of a beat; or a harmonically dense signal — similar to the output of a Max/MSP FM patch (which many would, without doubt, prefer to navigate physically rather than digitally) — made by moving the Bridge around the Soundboard to amplify certain harmonics and suppress others, finding a grittier sound with the Bridge barely touching or coaxing a more ethereal tone with it centred and depressed.
Endless exploration possibilities are a given, guaranteeing that any sonically-ambitious Cicada user is likely to while away the hours playing with input signals, system configurations, gestures, modulation combinations, and more.
It is hardly surprising, then, that Physical Synthesis sold out of its initial Cicada production run, really hitting a home run by counting luminaries like renowned electronic music composer and performer Hainbach — citing Cicada as being “The Tesla of electro-acoustic workstations, miles ahead of standard piezo and solenoid boxes...” — and Ableton CEO Gerhard Behles amongst its fan base, and has now turned to working with US-based distributor Electro Distro’s growing global network of dealers to bring its game-changing ‘acoustic synthesizer’ to a wider audience. “I want to bring acoustic synthesis to a wider range of musicians,” maintains Spencer Topel, before ending on a high note: “We are building some really exciting expansions of Cicada to different formats, including a Eurorack module called Nymph, which is coming soon.”
Physical Synthesis’ ‘acoustic synthesizer’ is now available as Cicada Founders Edition Extended — encompassing two dual AMPs, one PRE, one Actuator, five Bridges, three Soundboards, three Meanwell power supplies, three custom SATA Cables, and one custom Nanuk 935 Flight Case — for $2,700.00 USD or as Cicada Pro Series individual modules — starting at $79.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly from Physical Synthesis’ online Shop (https://shop.physical-synthesis.com).
The Veno-Echo is a powerful stereo digital delay device for Eurorack synthesisers. Retaining the essence of the original design, the Veno-Echo has been reworked for extended functionality and improved performance.
Two separate channels with independent controls for delay time, feedback, and reverse direction. Combine with width and cross feedback, for total control over the stereo soundscape. Delay times range from Karplus-Strong territory up to 1 minute and feedback up to 110% for wild self-oscillation experiments.
Parameter changes are handled with crossfades to achieve smooth transitions without pitch modulation or artefacts. Apply Doppler effect pitch-shifting via the internal modulation, ranging from subtle vibrato to fully sea-sick. Or use the Mod CV input to sculpt your own wobble.
Sound quality runs the full gamut from crystal clear repeats, lo-fi crunchy digital aliasing to highly saturated distortion, evoking the sound of overdriven valves. Further tailor the character of your repeats with warm wet line high-pass and low-pass filters, with configurable cut-off frequencies and resonance.
Generate rhythmic patterns which stay in sync with the rest of your system, or freely select from a continuous range of ratios, to dial in a rushing or dragging feel or totally out of sync repeats.
Highly flexible and intuitive controls, allowing full creative freedom with huge modulation potential. The Veno-Echo is a versatile tool for your sound design experimentation.
Emission live #272 - AODYO OMEGA, le poly à modélisation physique (ft. Deep Forest & Adrien Perinot)
video upload by
A few details and pics via their Kickstarter campaign follow.
"In December 2020, thanks to Kickstarter contributors, we achieved a successful campaign for Anyma Phi, the compact desktop monophonic physical modelling synthesizer. Six months later, we delivered it to our contributors.
Since then, we listened to the users feedback and worked on a more powerful and full featured instrument: Anyma Omega. Based on Anyma Phi synth engine, we designed Anyma Omega, a powerful hybrid polyphonic and multitimbral synthesizer. Its physical modelling synthesis engine allows to create new sound universes inspired from the real world, where objects collide, vibrate, and resonate.
Anyma Omega comes in two versions: desktop and keyboard, both including a large display and many controls, with unique sensitive wooden surfaces to feed resonators and enhance expression.
Whether you play live or compose music in the studio, design your own sounds or play presets, Anyma Omega will become a flexible and original addition to your setup.
PHYSICAL MODELLING
Anyma Omega blends the classic ingredients of electronic music with physical modelling technology, allowing it to simulate acoustic sound sources, such as strings or reeds, as well as resonating structures, like wood, glass, or metal.
POLYPHONY
16-notes polyphony with all the richness of Anyma's synthesis engine.
MULTITIMBRALITY
4 sound parts splitted, layered or even chained.
EXPRESSIVE PERFORMANCE
Proven Fatar® velocity sensitive semi-weighted synth action keybed with aftertouch for musical and expressive playing.
Numerous controls to enrich the performance and unique sensitive wooden surfaces (ribbon and touchpad) to feed resonators and enhance expression.
EASY EDITION
Easy access to 14 macro parameters controlling the main characteristics of patches.
Tweak every parameter of every module with the large display and controls, unleashing the power of a semi-modular synth at your fingertips.
Direct access to the various modules thanks to the interactive synthesis path diagram.
ALEAGEN
Create aleatory consistent patches, by pushing a single button, based on smart random algorithms.
POLYMORPH
Beyond polyphony, the exclusive PolyMorph feature can provide extra width, density and depth to the sound: fine-blend panspread, unison, expression and morphing for every single note.
TUNING AND MICROTUNING
With Anyma Omega you can use any scale or tuning to make your sound travel all around the world and the eras.
Explore our multiple microtuning presets. You can also load Scala (.scl) or Anamark (.tun) files in Anyma Omega by converting them to MIDI Tuning standard (MTS) format. In addition to importing and exporting tunings, there are several options that can be used to define and edit tunings directly on the instrument: reference tone adjustment, 12-tone octave scale, tuning table for each note and n-EDO scales.
CONNECTIVITY
With a lot of input and output ports, Anyma Omega easily connects to all the machines, synths and controllers. It is compatible with any standard MIDI controller, including our own electronic wind instrument: Sylphyo.
Plug external audio and use Anyma Omega as a powerful modular FX processor.
FREE EDITOR / LIBRARIAN
Free multi-platform editor/librarian inherited from and compatible with Anyma Phi's sound bank. Organize, archive and share your Anyma patches and performances.
Based on the Anyma Phi monophonic and monotimbral sound engine, Anyma Omega is polyphonic and multitimbral. Play up to 16 notes simultaneously and combine up to 4 sound parts (individual patches) in a performance. Route audio signal from one part to another to create monstous patches.
Anyma Omega Desktop provides an advanced user interface, making the use of an external editor quite unnecessary. We kept the macro parameters matrix of the Anyma Phi available, now available simultaneously thanks to the big TFT IPS color display and its 16 push encoders."
"This video explains how to make rhythmic LFOs with your Eurorack modular system, using the Quad LFO, the Phase Expander, and Babel from New Systems Instruments. You can use these same principles to combine any modulation sources that give you control over the phase of the outputs, and with any maximum/minimum/analog logic module. But note that the behavior of exclusive some (XOR/balanced middle) is unique to Babel.
The Quad LFO is an 8 HP analog sine core oscillator, giving four independent sine wave outputs. Each of the outputs ranges from nearly stopped to about 23Hz, covering the full sub-audio range and just dipping into the low audible frequencies. Each has linear voltage control as well, meaning that an increase in control voltage gives a proportional increase in output frequency. While each LFO is initially configured as a sine wave, there are four jumpers on the back to switch between sine and pulse wave outputs. This can be handy for using one of the four LFOs as a clock, or if you just want a square wave LFO for some other reason.
The 6 HP associated expander gives you three more LFO outputs, in a controlled phase relationship with the LFO to which they are connected. That is, each of the outputs is delayed by a certain percentage of the LFO cycle. The first output ranges from 0–180º, or from unison to a half cycle delay. The second ranges from 90–270º, or from a quarter cycle to three quarter cycle delay. And the last ranges from 180–360º, or from a half cycle to a full cycle delay. The phase expander can be useful for creating interesting rhythmic modulations, or when the LFO is configured as a square wave, giving you three phases of a sine wave LFO synced to a clock."
Playlist: [don't miss the last video for a musical example]
R2R Ladder : Basic Features : Vaemi (Eurorack)
Now we will use the module as 8 in 1 out. Using the output of an oscillator we can hear exactly how the module works. The sound level is getting lower and lower. Now we will use the module as 1 in - 8 out. Again, when we go down from the outputs, we hear the sound lower.In fact, the module is like an attenuator or a mixer.It can also be considered as a passive multiple. Now let's use it like a mixer and summing the outputs of two separate oscillators.
In this video we will use the R2R Ladder module to create a CV modulation. To hear what we're doing, I first connect the 2nd oscillator's Sine wave output to an LPG. We get the sound from LPG. We use the 1st oscillator to make FM. After passing the 1st oscillator through a VCA, we direct it to the FM input of the 2nd oscillator. I make Maths the Master clock and activate the clock divider right next to it. Standard 5V gate signals are output from each output of the clock divider. I am summing these signals with the help of the R2r Ladder module and determining their levels. R2R Ladder is currently used as 8 in - 1 out. The output of R2R controls the VCA we use for FM. Now, we cancel the signal we sent to vca on the R2R ladder and direct this signal to LPG.
R2R Ladder : Waveshaper Patch : Vaemi (Eurorack)
In this video, you can think that we are using the R2R Ladder module like a waveshaper or like a mixer. We connect the 1v/oct output of the sequencer to the first oscillator. We connected it to the Trig input of Maths at the gate outputs of the Sequencer. We will get the Square Wave output of the first oscillator, but we will not listen to it. With this frequency, we will operate the clock divider at a frequency of audio rate and we will begin to hear the dividers of the frequencies of the oscillator, that is, the harmonic degrees. Output number 1 in clock divider is exactly the same as the frequency of the oscillator.Now we can combine different different harmonics with R2R module. In this way, you will get more complex square waveforms.
In this video, we will make an 8bit arcade style sequencer patch. R2R Ladder is able to do this job without disturbing the tune. While making the patch, be very careful not to disturb the calibration. There are 2 separate sounds in this patch. One of the voices is synthbass and the other is a lead synth. We will do the modulation to the Lead synth. The lead synth with the 2.oscillator is played the 1v/oct input with a sequencer. On the Exponential FM input, we will add a CV modulation consisting of square waves obtained with the help of a clock divider and R2R Ladder. We hear the results together.
"R2R Ladder is a piece of unique ancillary equipment. It is inspired by DAC, and it is one of the most important and essential parts of it. Designed by Vaemi, this R2R Ladder module is an 8-bit converter. Through the inputs and outputs, whether it is audio or cv, you can enter all types of AC and DC signals. You can think of each channel as 1 bit. Each 1-bit data you send to the inputs will increase incrementally. For instance, a square waveform can be regarded as a binary system. Every channel has 2 resistances, series and parallel; and through these, you can establish a resistance ladder circuit. This circuit gives you the opportunity to get 128 parameters in the binary system, from 0 to 127.
You can use the module as 8 in – 1 out or 1 in – 8 out. Therefore, it can be used for a few different tasks. If you enter any signal from the input, from the other 8 output, it will come out as a low signal like an attenuator. The rate of lower signals will change in every input. If you enter 8 inputs, it will serve as a summing mixer. For example, if you combine more than 2 cv signals, you will have a new cv signal. If you enter more than 2 waveforms and use it in an audio rate frequency range, it will act like a waveshaper. The basic principle of a converter is that it works with 1s and 0s. To do this, it uses gate signals. The voltage of the gate signals is stable. When there is no signal, it is 0 volts; and when there is a signal, it is 8 volts. This circuit can split 8 volts into 128 equal pieces. By using the combinations of the inputs, you can reach all of these 128 points. In this way, without even thinking too much, when you combine 3-4 gate signals with this module, it will easily stop on the right notes, which is the right tune, just like in the tampere note system. The reason for this is that the module splits the voltage proportional. These CV signals you have got can be used in various modulations. It can also be used with an attenuator, a mixer and a multiple. The module is passive, and it does not require a power source."
"Dist COLDFIRE is a dual-engine distortion effect that goes from rich tube saturation to unrestrained sonic destruction in a few clicks. Combine analog & digital algorithms with deep modulation and customization, and unlock near-infinite distortion possibilities for your sound."
Tutorials | Dist COLDFIRE - Overview
"In this tutorial video, Lena takes you through the interface, advanced features, and wild sonic range of Dist COLDFIRE, demoing its flexible modules one by one.
"So glad this is finally out, what a great distortion, I've been having. A lot of fun with it and will explore many of it's features over the course of this stream. Thank you Arturia for hooking me up with this awesome distortion and for including my presets in the official release
"A detailed demo and tutorial of the new Dist COLDFIRE from Arturia, an advanced distortion effect that combines multiple simultaneous distortion algorithms, modulation, and more.
00:11 Overview and basic demo
01:42 Distortion types
10:43 Two effects at once
12:51 Advanced mode and modulation
17:35 Factory Presets
'Dist COLDFIRE is a dual-engine distortion effect that goes from rich tube saturation to unrestrained sonic destruction in a few clicks. Combine analog & digital algorithms with deep modulation and customization, and unlock near-infinite distortion possibilities for your sound.'
Dist COLDFIRE is an all-in-one distortion effect delivering subtle mix-enhancing saturation, dual-engine custom crunch, or unrestrained sonic destruction, combining analog and digital algorithms with deep modulation and customization to unearth near-infinite distortion possibilities for any sound.
Discover
Totally custom distortion
Pair up any of the 11 distortion types, from emulated tube heat to icy digital bit crush, customize routing, sprinkle in some modulation, and forge entirely unique sonic carnage.
Creative destruction
Swap static sound processing for distortion that evolves, flickers, and dances to any tune with 6 assignable modulation slots, step sequencing, envelope following, and more.
Intuitive but powerful
Dist COLDFIRE is simple enough to create exciting dual distortion effects in just a few easy clicks, but flexible enough to become totally immersed in deeply destructive sound design.
Dist COLDFIRE: Intro offer
To celebrate the launch, registered users can purchase Dist COLDFIRE at a one-off introductory price, with discounts up to 50% off. All users will also have access to discounts on a bundle comprising FX Collection 3 + Dist COLDFIRE. Users can login at arturia.com to unlock their exclusive discounts, available until Thursday, September 15th."
