Dune Soundtrack The One Hans Zimmer Cover all analog synthesizers, Moog, ARP-2600, Soma Lyra-8, DFAM

video upload by EthanJamesMusic

"This is a synthwave cover of the soundtrack for The One by Hans Zimmer from the movie Dune. I wanted to see if it was possible to get somewhat close to the spirit of the music using only analog electronic synthesizers with guitar. I am using some Eurorack modular with a Buchla Easel Command and Soma Labs Lyra-8 to create the drone, while the Moog Grandmother is covering the low brass parts, and the ARP-2600 is covering the string (cello and bass) parts. I'm using the Moog DFAM to cover the low drum hits. Finally, I'm using the Sequential Circuits OB-6 to do the end high strings.

I hope you enjoy! This was a fun exercise in sound design and trying to get the spirit of the orchestra into an analog synth orchestra idea."

"If you enjoyed this, please consider supporting my Patreon: https://www.patreon.com/ethanjamesmusic

Patch Notes:

Eurorack modular:
Instruo CS-L: using final outputs of both oscillators to a Make Noise Optomix to filter some of the high frequencies. The symmetry of both oscillators is being randomized by fluctuating voltage from a Frap Tools Sapèl.
Random Source Serge New Timbral Oscillator saw output to Serge Variable Frequency VCF. Low pass output to mixer. Filter frequency is being modulated by a Zlob modular Diode Chaos, while Q gain is being modulated by a Make Noise Wogglebug stepped output.
Make Noise Morphagene has a guitar loop playing D, and I'm using the knobs to make things change. Audio to an After Later Audio Monsoon (Clouds clone).
Make Noise Erbeverb in feedback mode to mixer.
All Eurorack audio to an Eventide H9 pedal doing reverb.

Soma Labs Lya-8 is in full drone mode with Hold turned all the way up. Most oscillators tuned close to a D with some variation. Audio is going to a Make Noise X-Pan modulated by an Intellijel Quadrax.

Buchla 208c Easel Command is providing more pulse-like ambience with random voltage changing the timbre very quickly. Audio to Make Noise X-Pan.

Moog Grandmother normalled patch with very slow attack and decay that is also assigned to the filter.

Moog DFAM using a very long decay with the two oscillators tuned a half step apart. Oscillator 2 has very low volume, so it's mostly contributing the attack sound.

ARP-2600 normalled patch with moderate ADSR modulation of the filter.

Sequential Circuits OB-6 using a polysaw sound being controlled by the Novation Bassstation II."

Atomo Labs Introduces the MochikaX4

MochikaX4 Inspiration video by atomolab

"Hello World!!
We are proud to introduce the new version of our classic of all times. The AtomoSynth MOCHIKA X4.
It is a full analog synthesizer plus a 16 step digital sequencer. Like all its predecessors, the Mochika X4 has a huge organic analog sound, raw and sometimes aggressive character, thanks to its all discrete Voltage controlled oscillator, Noise generator and classic AtomoSynth vactrol filter, now with sub oscillator and PWM, flexible LFO and ADSR type Envelope generator.
The new 16 step sequencer features a high contrast OLED display and 8 rotary encoders with pushbuttons, now it is easier to see and edit in real time the global sequencer settings and all parameters of each step like pitch, repetitions number and gate-time/slide.
It also features a 64 slot non volatile memory to store you patterns.
External clock and midi synchronizable, also controllable by any external midi device (midi note on/off).
New 8 creative playing modes including: Normal/reverse, alternate, random, drunk, drone, step-trigger polyrhythm, one shot and midi control modes.
All parameters, patterns and modes are editable while playing giving you great flexibility to perform live, experiment and create.
The new MOCHIKA X4 is built with high quality components and now with high precision SMD technology, compact and beautiful clear acrylic case and fiberglass front panel. Designed, Assembled by hand, calibrated and tested in Lima - Peru."

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New SSL Serge Dual Slope Generator in MU Format

"SERGE DUAL SLOPE GENERATOR IN MU FORMAT ANNOUNCED

Synthetic Sound Labs has just released the flexible 1240 Dual Slope Generator (DSG) - a long awaited addition to the MU world - designed in close collaboration with the legendary Serge Tcherepnin.

The 1240 DSG is the ultimate patch-programmable control voltage generator. A Serge Slope Generator is a slew limited unity gain voltage follower whose positive and negative slew rates are voltage controllable. It has an extremely wide range covering sub-sonic to high audio rates. Trigger inputs and pulse / gate outputs extend the slewing functions for use as a voltage controlled (VC) LFO, envelope generator and a variable pulse delay mono-stable functions.

One VC responds roughly exponentially, and two additional VC inputs are routed to individual Rise and Fall slope attenuverters for maximum flexibility and convenience. This newly updated circuit now includes temperature compensation to help eliminate drifting. The linearity and accuracy of the slews allow them to be used for exacting applications such as portamento functions.

The 1240 has two identical slope generators (A & B) - each of which can be set to self- trigger (Loop), or even to trigger each other for some wild modulation and audio
effects. It also has two auxiliary outputs which provide an output that is the greater of A

& B (PEAK), and another that is the lesser of A & B (TROUGH). These are interesting and go far beyond normal summing / mixing.
Among the many functions the 1240 DSG can perform are (x2):
• VC Transient / Envelope Generator - simply started by trigger or gate at TRIG IN.
• VC LFO - The rates are controlled by the Rise and Fall Rate knobs and inputs, and
the slopes controlled from LOG thru Linear to Exponential.
• VC Timing Pulse / Gate generator.
• VC Portamento with separate controls for rise and fall rates, and slopes.
• Envelope Follower (Detector) - The VC decay rate allows the response to be
moved from positive to negative peak detection.
• VC Pulse Delay (Monostable).
• Sub-Harmonic Series Generator. A trapezoidal wave-shape is generated for
sonorous, smooth sounds.
• Audio Generator with variable symmetry and a range into kilohertz regions.
• Non-Linear Low-Pass Filter. The VC slew limiting can progressively turn a sawtooth
wave into a triangle and many variations between. Thus a slope generator can be used as a very interesting low-fidelity VCF.

SSL uses quality fiberglass-epoxy printed circuit boards, precision automated robotics and meticulous hand-crafted assembly assure years of trouble-free service.

Synthetic Sound Labs has been in the analog synthesizer business since 1973. The 1240 is yet another in SSL’s growing line of new synthesizer modules. Proudly made in the USA.

Pricing is $495 US. Available directly from SSL and through NoiseBug, Pomona, CA."

Ashes on the western wind

davidryle

"I am using the 5U large format modular along with the Korg Wavestate to perform a real time studio recording.
The crux of the idea was to use the Q119 step sequencer to control the voltage-select outputs of the STG Soundlabs Switch module. The main step sequence is from the Synthetic Sound Labs Mini Sequencer.

I also used the Q123 Standards module from synthesizers.com to transpose interval shifts to some of the oscillator pitches. The drone over the top of them made for some mode changes which I liked.

The kick drum and paper snare sounds were gate triggered from the Q963 Trigger Bus.

A blend of the other STG Switch outputs are layered and sent through a Modcan dual delay for the main sequence line. A trigger mini-store controls an Oakley VCADSR envelope timing from these outputs. Decay and Sustain stages of the Oakley are controlled by rows from the Q960 sequencers.

Some of the sine wave pitched drones in the background are also tapped from rows of the Q960's. Their gate envelopes are managed by the Moon 563 Trigger sequencer and a few channels of the SSL Octal VCA and Expander.
Sound sources are Q106's, Dove Waveplane, SSL DDVCO and S1200 vco. The final signal train is through the Yusynth Arp 4072 low pass filter.

The Wavestate is played by hand with a patch I constructed called Malachite Temple.

Everything is summed to three channels on a Mackie mixer and recorded direct to Cubase. Video editing done in Final Cut Pro."

VELOCITY SYNTH MEET Coming to Seattle October 5th

Details here: https://www.velocityseattle.com

Exhibitors

4ms 4mscompany.com

4ms Company offers alternatives to traditional instruments with our poly-rhythmic clock modules that create evolving complex mathematical beat patterns, a resonator that can cast pop music into micro-tonal keys, a multi-channel wavetable oscillator, a routing matrix that's played like an instrument, and many more innovative devices. Rather than replicate concepts from the past, we strive to turn unique ideas into playable musical tools that expand the possibilities of music. We also offer Do-It-Yourself kits, and many of our designs are open-source.

Acid Rain Technology acidraintechnology.com

Acid Rain Technology is a manufacturer of music hardware out of Seattle, WA. We believe hardware instruments enable a unique connection between human and machine, and seek to improve this interaction through interface design for maximum playability.

After Later Audio afterlateraudio.com

After Later Audio is a boutique audio company located in Seattle, Washington. We make high quality Eurorack modules at accessible prices and we pride ourselves on responsive customer service. You can find our products for sale on our website, at various synth shops (Patchwerks, London Modular, Chuck Levin’s, and Modular 8), and on all of the major ecommerce sites.

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Days of Light

Published on Apr 14, 2019 davidryle

"Modular synth piece. Large format 5U and Eurorack.
Starting off with the Q-Bit Chord generated round. Mutable Instruments Marbles sending it a pitch c/v. The Root run direct to the mix and the htree intervals sent through a Synthetic Sound Labs Seqwencer IV sequential vca. The next few sounds fading in and out are the MI Rings and Piston Honda. Both controlled from Marbles.
Finally the main melodic content is pitch directed by Instruo Harmonaig to the 5U. The Harmonaig is pitch controlled from a Q60 step sequencer from Synthesizers.com and a pair of STG Soundlabs Voltage Mini Stores for transposing and voicing.
The pitch data from the Harmonaig sends a root pitch to a Q106 vco and FSFX built MI Braids. The Q106 is fed through a modular build of the Behringer DD400 digital delay and the Braids is timbre modulated by an Oakley VCADSR.
The three other interval c/v's are sent to three more Q106's. The third interval is split into two rhythm patterns gated by a Moon Modular M563 trigger sequencer, STG Soundlabs Trigger Min Store and various LFO's from Mega Ohm Audio. The filter is an Oakley SVF (band pass). The second tap is into a Modcan 73B delay and direct to mix.
The fifth interval is through a Q107 resonant state variable in band pass with 1v/oct tracking for a sine wave output and send through a Strymon Blue Sky pedal. Slew is from the Harmonaig.
The seventh interval is routed through a Q150 transistor ladder low pass filter.
Other delays and reverbs are from a pair of Lexicon MX200's and a T.C. Electronic D-Two delay. Recorded direct to Cubase in one pass. Video from my iPhone and edited in Final Cut Pro.

Thank you for listening!"

Mammoth 5MU System With Many Extras - Smegmar The Medicant & Sysyphus

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

via this auction

List of modules at the listing and captured below.

"Large-format modular system offers: 40 modules of various brands and 150 Synthesizer.com modules. In addition, there are various power-related modules, mounted in the front and the rear.

The system is 275 MU’s front face panels spaces plus 32-more in the rear. Featuring: 27 full-range multi-waveform oscillators, 12-filters, 3 discrete MIDI interfaces, and 4 sequencers. ( not including the Matrixbrute features)

It has taken over a year to purchase and assemble all of the modules: this system is completely ready to use. Most of this system is housed in solid walnut cabinetry.

There are a few modules I bought in used condition, but the rest are new purchases. The cabinetry, controllers, and cabling are all new. After assembly, this system has not been moved, exposed to smoke, or touched by anyone but me.

The entire system is in excellent condition, with a couple of VERY minor scuffs where modules have been periodically installed and/or relocated...

History: I first purchased a Moog System-55 re-issue modular. I discovered Synthesizers.com when doing a simple google search. I learned their clone of the Moog Dual Sequencer Compliment wing was not only superior to that of the Moog’s, it was nearly 1/3 the price. So from there, I bought a System 66 and A/Bd both the tonal and functionality aspects of each to discover the Synthesizers.com sounded better to my ears, had more functions, and was more stable. I sold the Moog, and steadily expanded the system it is today.

I am 100% satisfied with this system.

It would take upwards of 6 months to get all of these modules (and a couple of these you may not able to get at all) and a significant amount of time to install and wire the modules, and assemble the large manual binder.

It also took 2 full days to convert 16 of the modules into their revised versions, yet I have not added the price of the conversion kits to the list below."

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Borderlands

Published on Jul 9, 2016 davidryle

"I recall driving along Highway 9 in south New Mexico from El Paso, Texas to Animas, New Mexico on the way to Tucson, Arizona. The long bouncy road made an unforgettable impression of the remote southern US border region.

I tried to produce the drone impression of the road noise and wide open scenic expanse in this project.

A live studio take of the modular synthesizer recorded in Cubase and captured by the iPhone. Video edited in Final Cut Pro.

Some module patch highlights include the MI Clouds in Parasite Resonator mode dealing with a few voltage controlled radio station audio signals and one of the melodic sequencer lines.

The bass line is a Q960 step sequencer sent to a Q106 vco through a Yusynth Minimoog LPF. It is sent through a Modcan dual delay and Lexicon studio delay. There is a doubling with the MakeNoise Mysteron through a STG Sea Devils filter and the TipTop Z-DSP with Halls of Valhalla.

Other sequencer lines play various slow melodic passages over the top. Some of the vco sources are half dozen Q106's, Mos Lab 901 + 904A suite, Harvestman Piston Honda and Ian Fritz Synthetic Sound Labs DDVCO through Yusynth Arp 4072 LPF. Effects included Strymon Blue Sky reverb, Behringer DD400 delay, SSL 1310 digital delay, Lexicon MX200's and TC Electronics D-Two.

A periodic low frequency drum sound is generated by an envelope to a STG Post Lawsuit LPF and noise from a Sputnik WCRS.

Clock timing handled by Cubase to Future Retro Mobius which drove the STG Soundlabs sequencer suite, 4MS RCS and QCD and Moon Modular dividers, Pressure Points as well as the Q960 and Q119 sequencers"

SSSR Labs. SM042 KOTELNIKOV: Modulations

Published on May 19, 2016 rpocc

"This is almost unedited video showing KOTELNIKOV modulated by audio-rate oscillations.
The second module is a VCF in self-oscillation mode, sequenced by the same source as the SM042 module. (Elektron Analog Four is used as sequencer, which sends 1v/Oct pitch CV and unipolar envelopes for AM directly to this mini-system)

Since VCF CV input is also 1v/octave, a dramatic sound enhancement is possible using FM techniques as well as audio-rate Waveform Modulation and Hard-syncing."

Previous videos here.

via Modularsynth.ru:

"The SSSR Labs KOTELNIKOV is a digital voltage controlled wavetable oscillator module with morphing feature and built-in transient generator. This oscillator can generate number of sounds with diverse spectral content and combine them in various proportions. Kotelnikov can be used as a usual oscillator in a traditional subtractive synthesizer system, but it is also possible to use it as a complete voice module as it features shaped timbres, envelope generator and amplitude modulation.

Technical highlights

The sound engine sampling rate is locked to pitch and varies from 4.2 to 133 kHz, which gives very clear highs and uniform spectral content over the full range.
The Pitch resolution is 6 cents and CV input sampling rate is 6 kHz, which gives smooth analogish FM-ready CV response.
Analogue Amplitude Modulation input is bipolar, linear, rail-to-rail.
Kotelnikov contains 80 waveforms organized in 4 banks:

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Moog Releases Model 15 Modular Synthesizer for iOS

Published on May 3, 2016 Moog Music Inc

Now available on iTunes: Model 15 - Moog Music Inc.

Update: a quick note worth mentioning from Quincas Moreira who beta tested the app: It's a "brand new engine, they even worked directly with Apple to improve the ios's handling of heavy audio processing like this. Geert Bevin, the Dev, has said there is no dynamic voice allocation as this is a modular, all modules are constantly running, just like on a real one." You can find a list of Quincas Moreira's presets in the comments below.

"Suzanne Ciani, one of the first and most influential female electronic music composers and synthesists, creates a short sonic sketch using the Moog Model 15 modular synthesizer app. Ciani explores the custom-programmed sounds she designed in the app alongside Moog technicians as they hand-build the app's hardware modular namesake at the Moog Factory in Asheville, NC.

Listen to Suzanne's full composition here:



Ciani's unique patches are available as a free expansion pack in the Model 15's in-app store.

The Moog Model 15 App is an iOS version of the iconic 1970’s instrument. It is designed to evoke the joyous experimentation and sonic bliss of it’s predecessor’s vintage hardware, the Moog Model 15 App meticulously recreates the look, feel, and sound of its highly expressive analog namesake."

And a couple of user videos:

Moog Model 15 Synthesizer - Factory Sounds Demo

Published on May 3, 2016 Synth Anatomy

iTunes: Model 15 - Moog Music Inc.

Please support me on Patreon if you enjoy my content: https://www.patreon.com/synthanatomy?...

"This is the new Moog Synthesizer App Model 15 based on the Model 15 Analog Modular Synthesizer."

Moog Model 15 Modular - Monster New iOS App Exclusive

Published on May 3, 2016 sonicstate

iTunes: Model 15 - Moog Music Inc.

"In yet another beautiful studio room at the Funkhaus in Berlin, we saw a preview of the Model 15 - a lovingly emulated Moog System 15 modular modeled on iOS - sounded pretty tasty - Geert Bevin takes us through it"

Side note: Geert Bevin is the man behind the MPE: Multidimensional Polyphonic Expression MIDI specification. You can find previous posts featuring Geert and his work here, including the LinnStrument, Eigenharp, Madrona Labs Aalto, and Symbolic Sound Kyma.

iTunes: Model 15 - Moog Music Inc.

"The Moog Model 15 App is the first Moog modular synthesizer and synthesis educational tool created exclusively for iPad, iPhone and iPod touch.

* The Model 15 App requires iOS version 9.3 or later to work. *

Each facet of the Moog Model 15 modular synthesizer has been meticulously recreated in this application to ensure the power and transcendent sound quality of each module remains intact. The character, harmonic complexity and mystique of the Moog Model 15’s modules, from the legendary Moog 921–series oscillators and 904A Low Pass Filter, to the coveted 907 Fixed Filter Bank have been painstakingly preserved.

In order to develop the most immersive and expressive modular interface possible, the Model 15 App has been designed utilizing Apple’s new Metal advanced graphics engine. This ensures that all zooming, panning and modular patching throughout the application feels completely natural, something that would have been impossible otherwise.

The Model 15 App features both monophonic and 4-voice polyphonic operation is easily commanded via 4 seamlessly integrated controllers. Simple swipes and taps provide instant access to a traditional Moog keyboard, 1150 ribbon controller, 8-step sequencing arpeggiator and the award-winning Animoog keyboard with 22 built-in scales and polyphonic modulation capabilities.

Also included are extended features which expand the capabilities of the app beyond the traditional offerings of the hardware Moog Model 15. These include total MIDI integration, assignment for external control, use as a MIDI controller, dedicated Audio Bridge and MIDI Bridge modules, looping recorder module with overdubbing, a master ping-pong delay module and a new extension cabinet that includes additional amplifiers and voltage-controlled reversible attenuators that can be used for effects like ring-modulation.

Because the Model 15 App utilizes Apple’s Metal technology, only 64-bit devices are supported. Compatible devices include iPhone 5s or newer, iPod touch 6 or newer, iPad Air or newer, and the iPad Pro.

Additional Features
• Ships with over 160 unique presets
• Recreates the sound of a hardware Moog Model 15 modular synthesizer
• Easily share presets and recordings with anyone
• Tutorial patches to assist all experience levels
• Intuitive patching and cable coloring
• Support for landscape and portrait modes
• Voltage-controlled stereo ping-pong delay
• Expressive sequencing arpeggiator
• Moog 1150 Ribbon controller
• Real-time looping recorder with overdub and immediate sharing
• Up to two controllers on-screen (iPad only)
• Optional left-handed UI operation

Supports
• 3D Touch and Apple Pencil integration for after pressure
• Note-per-channel MIDI controllers
• Ableton Link
• Inter-App Audio and Audiobus
• MIDI Bridge and Audio Bridge
• 7 and 14-Bit MIDI
• MIDI Program Change
• Bluetooth LE MIDI controllers
• Typing keyboards for shortcuts and musical typing
• AudioCopy, AudioPaste and AudioShare"

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SSSR Labs VC Divider Commercial

Published on May 27, 2015 rpocc

"The SSSR Labs VC Divider is a dual, voltage controlled frequency divider module. It is equally suitable for both low-frequency or audio-rate signals, so it can be used with LFOs, clock sources, oscillators, or even noise or speech sources. Thanks to a space saving old-school design, the Eurorack version of this DIY-friendly module occupies only 4hp.

Product page: http://www.modularsynth.ru/en/sssrlab..."

"The SSSR Labs VC Divider is a dual, voltage controlled frequency divider module. It is equally suitable for both low-frequency or audio-rate signals, so it can be used with LFOs, clock sources, oscillators, or even noise or speech sources. Thanks to a space saving old-school design, the Eurorack version of this DIY-friendly module occupies only 4hp.

The VC Divider consists of two channels, which can work separately or be linked in different ways. Each channel has one clock input and one clock output. The division factor of each channel can be selected either manually with knobs, or remotely with a voltage applied to the control inputs. The division method is a «musical» type, which means that all patterns generated by this module will be perfectly in beat if they are all reset simultaneously. Unlike Flip-flop or binary counter based dividers, SSSR Labs VC Divider keeps the duration of incoming clocks intact, so it is not only able to trigger envelope generators, but can also directly gate them, providing articulation uniformity with variable rhythmic patterns.

The VC Divider can be used in many different ways: to control a rhythmic pattern of percussive instruments with a sequencer or another clocked CV source, or to divide a master clock to get traditional note durations, or even to get distinctive sub-oscillation. With this module you can easily do stylish complex hi-hat patterns, or create unusual polyrhythmic textures. The linear mode also allows creating patches which imitate game console sound effects.

Modules are shipped as DIY kits. The PCB supports Eurorack format as well as open modular formats such as MOTM and accepts both 12v and 15v supply. It is designed to be easily expanded to add a number of additional features such as: individual reset inputs, advanced signal routing and mode selection. Even when there is no expander, the module can be configured with a few jumpers. Each part has its own dedicated micro-controller in order to achieve the best performance. The firmware is written in assembly language ensuring minimal latency."

Bypass Door

Published on Jan 17, 2015 davidryle

"Experiment with the Synthetic Sound Labs first generation #1020 Steiner Filter (thanks to Ron Sunsinger)

The patch for the Steiner was the sequenced voice and went as follows...

-Four Q106 VCO's as such...
Sine wave 16' to an LFO driven VCA then on to the All Input of the 1020.
PWM 8' to Q107 LPF to drop off some of the upper frequencies, then to an Oakley Equinox phase shifter and on to the Band Pass input of the 1020.
Triangle 4' to a Behringer DD400 delay and on to the Low Pass input of the 1020.
Sinewave 2' to an SSL 1310 Digital Delay and on to the High Pass input of the 1020.
Control Voltage input to the 1020 center frequency was from a very slow looping A/R on the Intellijel Quadra.

Other voices for background...

Noise voice was the sequence driven (STG VMS) voltage controlled AM Radio module and pink noise through a CGS Real Ring Modulator and Encore frequency shifter on to a MOTM 440 and Grove Audio PM Resonator.

Slow moving reverb-ish chords are a pair of Q960's out of sync to Q106's and a Q150 LPF on to a Strymon Blue Sky reverb.

Vocal formant is a sequenced (STG VMS) Ian Fritz/SSL Double Dekka Ultrasonic VCO to a Grendel Formant Filter and on through a Music Thing Spring Reverb and on to an Intellijel Azimuth panner.

Fast fluttering satellite sounds are a pair of Q106's and an Oakley Diode Super Ladder in self oscillation mode. They are sequenced from a pair of Pressure Points. Each of the VCO's are sent to Modcan 73B delay and another Benringer DD400 delay before mix, EG and final filtering with an Oakley SVF.

The three background voices are automated with voltage control from channels of the Quadra and a Turing Machine affecting the clock divisions of a 4MS Quad Clock Divider.

Another voice amplitude modulation was the noise voice being introduced with a gate from the Yusynth Random Gates module paired with an EG and LFO driven VCA."

Happy New Year From MATRIXSYNTH! - A Look Back at 2014

Happy New Year everyone!

I want to start by thanking everyone that comes to MATRIXSYNTH and helps make it what it is - the readers, the supporters, and of course all the sponsors on the right.

THANK YOU and have a GREAT 2015!!!

This site is a labor of love and a ton of work. This site is ultimately meant to be an testament to everything synth in the making. We have over nine years of daily synth history captured here, 119,983 published posts. I can't wait to see what the future brings us in 2015!

That said, here are a few interesting bits from 2014 in the longest post of the year. ;)

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Synthesizers.com SSL 22 Space Portable Modular Synthesizer

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

via this auction

"The cabinet is outfitted with a qps1 power supply and the following modules:

q137 Power
q174 MIDI interface
q124 multiples
q106 oscillator
Synthetic Sound Labs VCO1 oscillator
q112 4 channel mixer
2x 1u blind panels
q109 Envelope Generator
Synthetic Sound Labs VC Envelope
q107 State Variable Filter
2x q108 Voltage Controlled Amplifier
Synthetic Sound Labs 5-pulser (waveshaper / ring modulator)
DIY reamp module (using specs from: here) And built by Phil P. from MegaOhm audio.

Basically, a nice compact two voice system with five slots for expansion. Everything to get started wiggling."

SYNTHETIC SOUND LABS SEGWENCER 2520 MODULAR EURORACK SYNTHESIZER MODULE

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

via this auction

"The SSL 2520 Segwencer™ Euro module is indeed in a class of its own. The name derives from the audio term “segue” (fading from one sound to another), and the synth term “sequence” (moving from one point / sound to another), and once combined, there is a synergy that blasts these concepts into a totally new way of morphing sounds, textures and even control voltages.

Before we go any further, a bit of explanation is probably in order. If you know a bit about pipe organ history, you know that a "crescendo" pedal is not a simple volume control. Pipe organs can control volume by opening and closing louvers in front of the pipes (called “swell”), but can’t really control brightness / timbre. A crescendo can add the perception of brightness and impact by adding more “ranks”. This is typically done with a separate pedal that the artist moves forward to bring in brighter and louder sounds. On a pipe organ, the mechanics of this are fairly straight-forward but technically complex. As the artist goes from soft to loud with the crescendo pedal, several “switches” are sequentially engaged. Each successive switch causes a new pipe rank to sound, therefore it becomes increasingly fuller with each stage of the crescendo pedal.

So, what is the SSL Segwencer? In a typical Voltage Controlled studio environment, a control voltage is fed to the “Depth” input which (through an on-board attenuator) controls which of the four Segwencer channels is active based on the input voltage. Each channel of the Segwencer has a separate built in VCA (DC coupled!) input and output, as well as a comvenient Mix output that can frequently save a mixer.

By this description, you might think that the Segwencer harshly “switches” from channel to channel – which is not in itself a bad thing. Here is where the Segwencer really shines.

The Segwencer has a “Width” panel control that literally softens the progressive transitions between the channels. So YOU have complete control over the transition of the “switch” point between the channels, and the “softness” of how that channel switches. Really cool!

Obviously, using a voltage pedal could emulate the actions of a crescendo pedal, but how about feeding the Depth input with an envelope generator? What about an LFO, or even keyboard velocity voltages. And since the VCAs are DC coupled, imagine possibilities of Segwencing control voltages, or even CVs AND audio in the same segwence? The combinations are staggering.

Imagine taking each basic waveform from a VCO into each input of the Segwencer and having the Segwencer smoothly blend the waves? Or how about a sine wave into channel “A” out to a audio mixer, an LFO into channel “B” out to the VCOs CV input, and a wavefolded sine into channel “C” out to the audio mixer? Result: Sine, to FM modulated sine, to distorted sine.

The VCA inputs are conveniently normallized, so - How about a voltage controlled quad panner with each output going to a separate speaker? Or maybe three or four VCOs in a musical chord (or dischord if that floats your boat), each into a separate Segwencer input, with the Segwencer “Mix” output as audio? Result: Think about it.

You'll probably find youself using at least one Segwencer for just about every patch!

Controls
- Width
- Depth CV Amount
- Peaks / Slope selection switch

Inputs
- 4 DC Coupled Linear VCAs
- Depth CV

Outputs
- 4 DC Coupled Linear VCAs
- 1 DC Coupled Mix output

Indicators
- 4 Channel Activity LEDs (Blue)

Power
+15V at..ma, -15V at..ma, 16pin Eurorack header.

Size
Width - 10HP
Depth - 45mm (1.75") behind panel"

SSL DOUBLE DEKA ULTRASONIC VCO

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

via eBay

"For use in a Synthesizer.Com/MU type modular system. Perfect condition, purchased new from SSL.
These are currently selling new for approx $600 and are currently not in stock from SSL or Noisebug.
Please keep in mind that these modules come with a Synthesizer.com type power header. Full Spec's are available at the the Steamsynth.com & Noisbug.com...

Description from the SSL website:

' Innovator and designer extraordinaire Ian Fritz has teamed up with Synthetic Sound Labs to bring you one of the most useful and flexible VCOs on the market - the SSL 1130 Double Deka VCO.

The Double Deka is a stable, wide range 1V/Octave VCO with incredible sonic versatility. Imagine "drawing" a 10 stage waveform using lighted front panel sliders. Now imagine two of these separate waveforms, each with a precisely stepped 6 octave range control that can also be externally voltage controlled. In addition, using a built in knob or external control voltage, you can cross-fade between the two waveforms. Add to this, two unique new types of sync, a funky digital ring modulator (DRM) type input, plus separate linear and exponential FM inputs, and you begin to see (and hear) the possibilities.

This unique VCO consists of an ultrasonic oscillator core followed by a parallel pair of waveform generators. Each waveform generator consists of a voltage controlled multi-octave divider, followed by circuitry to generate a 10-step waveform using a set of 10 slider potentiometers. Also included are a novel synchronization circuit with two different operating modes and a built-in "digital ring modulator" (DRM) for producing a wide variety of synchronized and anharmonic sounds. The oscillator core is highly stable (better than 20 ppm/K ) and features wide-range, accurate tracking (better than 0.05% over fifteen octaves). The variable waveform generator provides fine control over an enormous range of available timbres. The high frequency output of the "core" oscillator is provided for use in driving other frequency dividers. '"

Harvestman - Voltage Apparitions

Harvestman - Voltage Apparitions from Richard Devine on Vimeo.

"I recently borrowed Scott Jaeger's 6U harvestman case after our last trash audio synth meet. This patch is an experiment using some of his latest modules, Tyme Safari mark II, Zorlon Cannon Mark II, Hertz Donut Mark II, Piston Honda Mark II, Stillson Hammer, Bionic Lester, Double Andore and Polivoks VCF. The only other modules used where the MakeNoise Pressure Points, stg soundlabs .mix and Synthwerks FSR-4 Quad force sensing resistor module. The idea was to try and create a patch that utilized all of the modules in one performance. No sequencing of any kind just a play on textures and timbres using my hands. The only external effects used in this patch where the Eventide space and Strymon blue sky pedal. The Zorlon Cannon provided fluttering gates into the Double Andore trigger inputs. Top mix output on the Zorlon Cannon ran into the "B" input on the Bionic lester. For the low to high low bit bursts of noise filtered in band pass mode, with moderate gain input setting. Multiple sputtering gate outputs from the "A" outs section running into the "A Sound of Thunder" input sections triggering on and off the bend and format effects at different intervals to create complex digital clustering. Then taking the output of the "Tyme Sefari mark II" into the "A" input on the Bionic lester, creating the repeating glitching stutters scattered through out the performance. The Hertz Donut output is running into left side on the Double Andore, then CV controlled by the left side envelope output. Right side output from Double Andore going into the Piston Honda CV input then running both signals out the summed output. Combination CV outputs going into the Double Andore from the synthwerks top outputs. Drone pitches created via the pressure points tuned voyaged output top row yellow cable. There is also some gate and pressure outputs running into piston honda and time safari CV input. Double Andore right side output into the the Polivoks filter, filtering the wavemorphing of the Piston Honda. All inputs running into an STG soundlbabs .mix. Entire mix running through a Eventide space "custom preset". Hertz Donut output running into the Strymon "bluesky" reverb pedal in shimmer mode then back into channel 1 on the sty sound labs .mix.

http://www.theharvestman.org/"

via Richard Devine on The MATRIXSYNTH Lounge

SSL Double-Deka VCO

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via this auction

"Voltage Controlled Oscillator (VCO) for MU format modular synthesizer.

This module is one of just a few dozen out there, made in small batches by boutique MU Modular manufacturer SSL. Based on the Ian Fritz design, this module provide two 10-step waveforms to be defined which may be selected from via voltage controlled mix knob or discreet output.

In low frequency mode it can even be used to generate rhythmic pulses.

Below is a copy/past of the SSL product page which describes this product in detail...

'Innovator and designer extraordinaire Ian Fritz has teamed up with Synthetic Sound Labs to bring you one of the most useful and flexible VCOs on the market - the SSL 1130 Double Deka VCO.

The Double Deka is a stable, wide range 1V/Octave VCO with incredible sonic versatility. Imagine "drawing" a 10 stage waveform using lighted front panel sliders. Now imagine two of these separate waveforms, each with a precisely stepped 6 octave range control that can also be externally voltage controlled. In addition, using a built in knob or external control voltage, you can cross-fade between the two waveforms. Add to this, two unique new types of sync, a funky digital ring modulator (DRM) type input, plus separate linear and exponential FM inputs, and you begin to see (and hear) the possibilities.

This unique VCO consists of an ultrasonic oscillator core followed by a parallel pair of waveform generators. Each waveform generator consists of a voltage controlled multi-octave divider, followed by circuitry to generate a 10-step waveform using a set of 10 slider potentiometers. Also included are a novel synchronization circuit with two different operating modes and a built-in "digital ring modulator" (DRM) for producing a wide variety of synchronized and anharmonic sounds. The oscillator core is highly stable (better than 20 ppm/K ) and features wide-range, accurate tracking (better than 0.05% over fifteen octaves). The variable waveform generator provides fine control over an enormous range of available timbres. The high frequency output of the "core" oscillator is provided for use in driving other frequency dividers.

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A Buoyant Blue

Published on May 28, 2013 davidryle·112 videos

"A demo of a new Dave Dixon Analog Shift Register module.

This is a real time recorded session using the modular synthesizer. The ASR module is lacking a finished front panel but it is on order. I used a scratch 2U panel from an earlier MFOS Quad Voltage Quantizer build to house the panel parts & PCB. The build went well right off. There is a bit of drift in the looping function but I didn't use it here on this video. Most likely a component change would help with that.

Rather than a straight demo video, I decided to try to use the ASR in a more musical way to demonstrate one of the benefits of having it in the modular synth. The Dave Dixon design is very stable which is a nice compliment to the dual CGS ASR in my setup.

I am using a Q960 sequencer as master clock and pitch sequence duties for the main 7 step line as well as the second and third row as the 14 step counter-melodic line. The main output is the bass line and the other three voices are the ASR lines which build in the beginning to a chord structure in C Aug7. The counter melody is in C Maj. All pitch cv's were processed with a trio of Q171's and Q172 quantizers from Synthesizers.com.

Other sequences are Q119 and STG VMS for a very faint discord line as well as a rapid arpeggio which come & go at the end.

I tapped into the last gate out of the main line on the Q960 to trigger a slew-down pitched tone for the beginning note. An Yves Usson (build by STG Soundlabs) gate delay was used along with a Q961 Interface for gate timing on this crucial event.

A Synthetic Sound Labs Touch Tempo LFO is employed to create a faster timing for the dissonant line and the arpeggio. The Moon Modular 554 and 563 provide gate timings for these.

Inspired by the sound of the ASR controlled vco's, I was trying for a pleasant, ambient Eno-esque feeling to this piece."

Synthetic Sound Labs Segwencer IV Model1520

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via this auction

Full description here: http://steamsynth.com/m_SegwencerIV.aspx"

"The SSL Segwencer IV™ module is indeed in a class of its own. The name derives from the audio term “segue” (fading from one sound to another), and the synth term “sequence” (moving from one point / sound to another), and once combined, there is a synergy that blasts these concepts into a totally new way of morphing sounds, textures and even control voltages.

Before we go any further, a bit of explanation is probably in order. If you know a bit about pipe organ history, you know that a "crescendo" pedal is not a simple volume control. Pipe organs can control volume by opening and closing louvers in front of the pipes (called “swell”), but can’t really control brightness / timbre. A crescendo can add the perception of brightness and impact by adding more “ranks”. This is typically done with a separate pedal that the artist moves forward to bring in brighter and louder sounds. On a pipe organ, the mechanics of this are fairly straight-forward but technically complex. As the artist goes from soft to loud with the crescendo pedal, several “switches” are sequentially engaged. Each successive switch causes a new pipe rank to sound, therefore it becomes increasingly fuller with each stage of the crescendo pedal.

So, what is the SSL Segwencer? In a typical Voltage Controlled studio environment, a control voltage is fed to the “Depth” input which (through an on-board attenuator) controls which of the four Segwencer channels is active based on the input voltage. Each channel of the Segwencer has a separate built in VCA (DC coupled!) input and output, as well as a comvenient Mix output that can frequently save a mixer..."