Audulus 2.0 Released for Mac and IPad

Audulus 2.0 from Taylor Holliday on Vimeo.
New features in Audulus 2.0. Many thanks to the Audulus beta testers for their thorough testing of this release!

"Audulus 2.0 Released for Mac and IPad:
Math. Timing. Speed.

Audulus 2.0 introduces the Math Expression Node which allows you to enter math expressions, opening up another level of sonic possibilities.

Maybe you'd like to simulate the overtones of a piano? Or build a 3-operator FM synth? Or snap pitches into a chromatic scale? Maybe you'd like to create your own oscillator waveform? Or, possibly a custom wave-shaper? With the new Audulus Math Expression Node, all these and more are now within your reach.

Audulus 2.0 also introduces the Timing Mode, a feature which shows how much CPU time each node is taking. This gives you the information you need to squeeze every bit of performance out of your iPad or Mac.

Both the Math Expression Node and Timing Mode can be unlocked in the new Audulus store.

Lastly, in Audulus 2.0, the Audulus audio engine has been further optimized so your patches will run faster than ever.

Speed. Timing. Math. Audulus 2.0"

iTunes:
Audulus - Wilson Holliday

Mac App Store:
Audulus - Wilson Holliday

iOS Devices on eBay - Daily Tech Deals

SUPERPATCH

YouTube via gaufresderiz
"Il primo loop proviene da una sequenza dell'SQ8, clock D-LFO filtrato dallo ZORLON CANNON e dal MATH che gestisce audio, tempo, filtro del Borg e CV dei 4 canali del QMMG... In pratica fa tutto lui!!!
Il basso viene dallo Z3000 che poi è pure la cassa compressa dal MATH... Il secondo basso stile TB303 è lo stesso ma trattato con il secondo canale del MATH e da 2 canali del QMMG... Snare dal DRUM 04 dell'MFB... Mentre l'effetto sullo sfondo è una patch che viene dallo ZORLON CANNON, passa dal POLIVOKS VCF... E' incredibile ma tutto è collegato e passa tutto dagli stessi canali... del MATH e del QMMG..."

Technosaurus Cyclodon -- Demo with Korg MS20

Note: Auction links are affiliate links for which the site may be compensated.
video upload by D Math

"Quick video showing this item at work."

via this auction

"Swiss-made 1998 16-step analog sequencer. Compact and powerful! Internal or external clock (including DIN-Sync input). It can do any number of steps between 1 and 16."

CLICK FOR MORE »

data.mod - MaxforLive Device for Ableton Live by Dillon Bastan

video upload by Isotonik Studios

"data.mod is a modulator device that can be mapped to parameters in Ableton Live in order to modulate them. It centers around a grid of math operators. Each modulated parameter (up to 8) has its own modulation source/value and each frame that value changes based on its selected math operator. By changing the operators in a chain of events and the source of their right-hand operand, you can create complex to harmonic oscillations that can be evolving over time or repeating rhythms. Great for glitchy/chaotic, harmonic and rhythmic modulations, it can be quite diverse!

Comes with
The device, user manual, 12 presets

Features:
Modulation grid with various math operators and modes of operation
Ability to freeze and loop modulation history
Gliding
Ability to modulate external parameters in Live with each column in the modulation grid (up to 8)
Many transport syncing options for making clean rhtyhms
Individual randomization and snapshot storage of parameters

AVAILABLE HERE: https://isotonikstudios.com/product/d..."

Drawing with Sound (Oscilloscope Music) - Smarter Every Day 224

Published on Aug 31, 2019 Drawing with Sound (Oscilloscope Music) - Smarter Every Day 224

"What I really like about this project is that it taught me to think about the world differently with respect to physical objects. I now sometimes think about the outline of physical objects as if it's a line. The specific area of math that you use for things like this is called 'Parametric Equations'. I had a lot of great conversations about this stuff with Hansi and Jerobeam. I was very impressed by their intelligence, and also very thankful that they took their time to share these special things with me. I know they'd really appreciate it if you'd reach out to their website and purchase OsciStudio as well as some of Jerobeam's music. Even if you don't have an oscilloscope, purchasing the software will obviously help them continue to do what they love doing. Hansi showed me a very interesting thing he's working on involving ray tracing. It was fascinating.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
SUPPORT THE ARTISTS!

Here's the website you want to go to:
https://oscilloscopemusic.com/

Direct Links:

Download OsciStudio Here so you can draw 3D objects in Blender
https://oscilloscopemusic.com/oscistu...

Download some Oscilloscope Music here:
https://oscilloscopemusic.com/watch.p...

Check out Jerobeam's channel
https://www.youtube.com/user/jerobeam..."

Blocs

Oscilloscope Music - Jerobeam Fenderson


Previous posts featuring Jerobeam Fenderson. Also see: Vector Synthesis: a Media Archaeological Investigation into Sound-Modulated Light

Test Globale

YouTube via gaufresderiz
"Ho usato tutto il modulare... Per sincronizzare le varie parti ho messo al centro il Math di MakeNoise... un modulo veramente incredibile! La cassa è creata dallo stesso Math con l'aiuto del D-LFO Cwejman... Le varie parti escono dal mod e vengono filtrate da vari effetti, ibanez, Korg, Dynacord, Vermona... Il sottofondo viene dal ThingAMaKit della Bleep Labs..."

The Wavetable Synthesizer by Seth Kranzler

The Wavetable Synthesizer from Seth Kranzler on Vimeo.

MATRIXSYNTH reader Seth Kranzler wrote in to share his latest project, The Wavetable Synthesizer. Seth is a student in the ITP program, an experimental New Media graduate program at NYU, and this was his term project. Be sure to see his site for some of his other creations. The following is some info on The Wavetable Synthesizer for the archives. Be sure to see the second video below. I also created a new Seth Kranzler channel as I do for all makers featured on the site.

"The Wavetable Synthesizer utilizes what I have dubbed 'creative synthesis'. Instead of indirectly affecting waveform shape with envelopes, LFO’s, and oscillators, the Wavetable Synthesizer allows the user to directly control the waveform shape using 12 sliders and two knobs. Eight of the sliders control the overall shape of the wave (acting much like 'attractors' on a line), while two knobs control how the points are interpolated (smooth, triangular, or square) and at what resolution (from fine to coarse). The four sliders labelled 'A', 'D', 'S', and 'R' are used for attack, decay, sustain, and release respectively (more information on that here). Users can access saved waveforms with a bank of buttons, and when selected, can watch the controller transform automatically to these settings. The rightmost knob allows for control of the transition speed between presets."

"The software for the Wavetable [see video below] is where all sound synthesis takes place. Due to familiarity and available resources, Processing (Java) was used. The first challenge in creating the software was to create a smooth waveform from only eight distinct points. In order to accomplish this, an interpolation function needed to be utilized. While the math to perform these interpolations is readily accessible, Java also has libraries available to aid in this. The image to the right shows comparisons of the Apache Lagrange (white), spline (green), and linear (red) interpolations. Ultimately, the spline and linear interpolations were used in conjunction with a "square wave" interpolation.

In order to then play the waveform, the minim wavetable function was implemented. The MidiBus library handled all midi communication."


20141110 wavetable demo from Seth Kranzler on Vimeo.

You'll find full details at skranzler.com.

On the future of The Wavetable Synthesizer

"I’d like to continue working on this project and rebuild the software side in MAX/MSP. Ultimately, it would be great to move away from processing as it is not ideal for sound synthesis. Since I would be programming this in MAX, I also plan to make it a Max for live device. It would be great to be able to distribute it for free and give back to the Max for Live community."

Lachesie

YouTube Uploaded by Ebotronix on Jul 14, 2011

"Oberheim Cyclone (3 Tracks) -Logic-2xKenton Pro 2000 II-4x Wiard anti oscillator - 4x AS 110 ( Notch out to Res in ) - Make Noise QMMG controlled by 2 x Math to 4x Doepfer
A 134Controlled by 4x A 151( Ch 1 Math cv Ch2 A 143-9 QLFO Ch 3 Moog MP 201 (Bi polar) Ch4 Wiard Uncle ( Modulation VCO for Filter FM ( AS 110) Anti Oscillator FM & panning - Mackie Logic
Drums : Clavia D Drum 4 SE"

Free Samples via Zero Divide

http://audio-kinetic.iswiz.com/stuff/korger1.zip
Made these just before I sold my Korg ER-1. They aren't properly cut up, unfortunately, but it isn't like it isn't hard to slice them down to size. This is just a bunch of sounds I synthesized to try to cover all of the possibilities that this machine had to offer.

http://audio-kinetic.iswiz.com/stuff/kraftydrums.zip
Did these up last night using the MFB Kraftzwerg to synthesize drums and such from scratch. I did cut out the silences on these and normalized, however it should be noted that on a couple of these I ran the input on the MPC just a teensy bit too hot, so a couple of the samples distort a tiny bit (though it's actually a nice effect on the kicks.)

http://audio-kinetic.iswiz.com/stuff/mfb522.zip
MFB 522. There's not much here as I was sampling these so that I could experiment with different processing methods, but this is a nice little simple drum kit here.

http://audio-kinetic.iswiz.com/stuff/rolandmc09.zip
These are all of the drum sounds from the Roland MC-09. There's a few repeats in here because the kits are made up from a small pool of samples and I was just flying through getting all of the kits sampled. I don't think I've chopped these up either.

http://audio-kinetic.iswiz.com/stuff/frxsdrums.zip
Inspired by Wave Alchemy's collection, here's a small selection of Future Retro XS drums. Not nearly as varied as the Wave Alchemy set, but still a good demonstration for myself as to the capabilities of this unit.

http://audio-kinetic.iswiz.com/stuff/jomoxmbase01.zip
This is all of the preset sounds and a couple of sounds I built of my own for the Jomox MBase01.

http://audio-kinetic.iswiz.com/stuff/dr550mkii.zip
Complete collection of all of the drum sounds on the Boss DR-550mkii. (A lot of the sample sets floating around on the interwebs don't have all of the sounds in them.)

http://audio-kinetic.iswiz.com/stuff/dotcomdrums.zip
And this is just a quick little goof-off thing with my Dot Com system doing a couple of basic drum sounds.

Update via Zero Divide:

here's another MFB 522 bank:

http://audio-kinetic.iswiz.com/stuff/mfb522.zip
The difference between this bank and the last bank is that for this one, I went through and sampled every sound with the knobs at five different positions. Obviously due to the nature of analog, this doesn't cover ever single possible sound that the 522 can do, but it still covers a lot of territory. I didn't go through and trim it up because doing it manually would have taken way more time than what I was willing to give to something I would end up giving away for free, and doing it with like Wave Trim or the like seems to cut off the tails in a lot of cases.

http://audio-kinetic.iswiz.com/stuff/schlagzwerg.zip
Initially with this one, I was setting out to do like I did with the 522 and try to get nearly every possible sound out of it. Since it shares the same hats/cymbal circuit as the 522, that means that I only have to get the kick, tom, and snare section. Trouble is that the Schlagzwerg has a much greater range than what the 522 has, so I'd have to sample all of the knobs at seven positions instead of just five in order to cover it all. Three hours and 550-ish samples later, I stopped and did the math and realized that for seven positions of every knob and five knobs for the kick, I'd need over 16,000 samples just to cover all that the kick can do. Lesson learned: Plan ahead! So, I deleted all of those samples and just made a smaller collection highlighting what is possible with the Schlagzwerg. The 'FX' bank is what the Schlagzwerg is capable of when you get crazy with the patch cables."

How to create a DIY sequencer using Web MIDI and a MIDI controller

video upload by Floyd Steinberg

"Here's how to create a simple 16 step, 8 track, 8 patterns MIDI sequencer using JavaScript and Web MIDI (and some simple math). Table of contents:

00:00 introduction
00:51 midi basics
01:34 binary numbers
03:30 midi commands: note on
04:47 note off command
05:37 web midi
06:29 web workers
07:23 basic idea how to create the sequencer, and math basics
09:05 how to swing
10:19 document object model
12:13 how to use my sequencer
18:13 conclusion

Links:
My sequencer: https://sequencer.floydsteinberg.com (right click and show source for more info)
Main script: https://sequencer.floydsteinberg.com/...
MIDI specification: http://www.gweep.net/~prefect/eng/ref...
Web MIDI API: https://developer.mozilla.org/en-US/d..."

David Rogoff on VCOs

David Rogoff sent the following into the Yamaha CS80 list. I asked him if I could put it up and he gave me the OK.

"This touches on a big, somewhat technical, issue of what kind of VCOs the CS80 uses. The VCO III chip is a linear VCO, sometimes called Hz/Volt, as opposed to the more common exponential (Volts/Octave) VCOs (e.g. MiniMoog, Curtis & SSM chips in SCI and Oberheim polys).

Here's a pretty good explanation: link

Here's a (I hope) quick one:
The most basic VCO is a sawtooth one, which can be a capacitor charged by a current. For non-EE types, here's my modified toilet analog (and you though the Metasonix vacuum-tube VCO was weird) : The capacitor is like the water tank of a toilet. The water filling it up is the current. The height of the water is like the voltage across the capacitor. Now, modify the float valve so that when the tank is full it automatically flushes. Then the cycle starts again. If you double the water filling rate ( = double the current), you double the frequency of the flush cycles.

The is a basic, linear VCO (actually Water-CO). It shows a couple of things. First, it's not actually voltage controlled, but current controlled. Ignore that for now. Also, the filling time is adjustable, but the discharge/flushing time is fixed. This is an issue with all sawtooth VCOs and is why many (e.g. Moog) VCOs have a high-frequency-tracking adjustment, which helps cancel this out. Here's the CS80 VCO: link

Ok, so why don't all synths use linear VCOs? As the above link explains, human ears don't hear frequency linearly. A above middle C is 440Hz. An octave about is 880Hz, or double the frequency. The next octave would be 1760Hz: double that. If you graph this, it's an exponential curve. So, the space (in Hertz) between two notes keeps getting bigger as we get to high pitches. If you had a modular synth with linear VCOs (like that old Paia), the top key might output 5 volts. One octave down would be 2.5volts. The next 1.25volts, followed by 0.625v and 0.3125v. This is a pain to generate. Also, as you get to lower notes, smaller voltage inaccuracies start becoming bigger pitch errors to our ears.

To avoid all this, someone (anyone know who? Dr. Bob? Tom Oberheim? Don Buchla?) came up with exponential VCOs. Basically, they're just a linear VCO with a circuit in front of them called (big surprise) an exponential converter. This is just a circuit that takes a linear input (1volt/octave) and outputs the doubling voltage (actually current...) that the VCO wants. Now, everything is simple.

So, why did Yamaha go for the linear? Two reasons, I'd guess. First, adding the exponential converter to each VCO adds more cost to the chips, since there's more circuitry. A bigger issue is temperature stability. As we've been talking about lately, all circuits are affected (i.e. knocked out of tuning) by temperature changes. The exponential converter, for reasons I won't go into, is really sensitive to this. People have been complaining about the tuning stability of the CS80, but it's rock solid compared to any poly-synth with exponential VCOs (P5, OBX, A6, etc). They all need computer-controlled auto-tuning routines to have any chance of staying in tune.

So, what issues/problems/advantages does the CS80 having linear VCOs create?

Good things:
1) modulation - linear vibrato sounds a bit different than v/oct vibrato, probably closer to acoustic vibrato (e.g. violin). Also, as the modulation speed increases, you start getting into F.M. land, which requires linear modulation (you don't want to know the math!). This is why some modular VCOs have linear FM inputs in addition to the normal v/oct controls.

2) sweep to D.C. - my favorite. If you start a pitch bend at the right end of the ribbon and slide all the way to the left, the pitch of the VCOs all go down to 0Hz / D.C. / flat-line. This is because the input to the VCOs goes to 0 volts and the frequency equals the voltage times a constant. With a exponential VCO this is impossible. Going 1 volt less on the control input goes down one octave. Mathematically, you can't get to zero Hz. You'd need to input -infinity volts! Also, many other limitations in the circuit block the VCO from even getting close. Big win for linear VCOs!

Bad things:
1) Keyboard voltages - as I wrote above, the keyboard has to generate exponential voltages. This is a big pain. In a digitally-controlled analog (like the CS80, P5, etc), the keyboard voltage comes from a DAC (digital-analog-converter). 99.99% of DACs are linear. The CS50/60/80 (and others in the family) have bizarre, custom exponential DACs. This makes interfacing the CS80 to other synths and/or MIDI-CV converters a pain.

2) CV mixing. Finally, we get to the original question of adding a pitch-bend input to the CS80. In the volts/octave world, everything is easy: you just add voltages together. Adding voltages is simple to do - just an op-amp and a few resistors. Let's say you had the following voltages come out of a v/oct keyboard: 1v, 2v, 4v. This could represent a low C (c1), C one octave up (c2), and C two octave above that (c4). To make it simple, let's say we have a pitch wheel or pedal add 1 volt to this (2v, 3v, 5v). This would be c2, c3, c5, so we've just transposed the sequence up an octave.

Ok, what happens if we try this with a linear voltage. For the same c1, c2, c4 notes, we might have 1volt, 2volt, 8volt. Adding one volt gives 2volt, 3volt, 9volt. The first note is correctly up an octave, but the next is only up about a 5th and the third note is only transposed up about a semitone. This, obviously, doesn't work. What we need to do, instead, is multiply the voltages. To transpose up an octave, double the voltages. To transpose down an octave, halve them. This is easy for a fixed transpose, but if you want a variable, like a pitch-bend pedal input, you need to multiply voltages. Just like it's much, much easier for people to add and subtract than multiply and divide, so it is for analog (and digital) circuitry.

If you follow the schematics or block diagram of the CS80, you can see that the voltage to the VCOs comes through a long chain of multiplications. The ribbon is actually the initial voltage source for the whole instrument. If the ribbon isn't pressed it outputs some fixed voltage (not sure the actual value - call it 2 volts). If the ribbon is slid up, all the way, from the left to the right, it would output double this voltage, which corresponds to one octave up. If the ribbon is slid the other way, it outputs zero volts, as mentioned above. Next, the voltage is sent through the concentric pitch knobs. Any normal potentiometer is a voltage multiplier, which can multiply the input by anything from zero to one.

This voltage then becomes the reference input to the exponential DAC on the KAS board, which multiplies it by it's exponential resistor network to create the CVs for each of the either voices. These voltages go to the VCO chips on the M-Boards. Are we done - nope - one more CS80 weirdness. In a v/oct synth, the octave/foot switches would just generate a voltage that would be added to the keyboard CV (e.g. MiniMoog). The CS80 VCO, instead, has a special footage input that needs an exponential current for each feet setting. Because this is difficult to do accurately over a wide range, we end up with the wonderful VR4, VR5, and VR6 trimmers to get the feet switching calibrated separately for each of the 16 VCOs. Yuch!

Getting back to the original question (remember Alice? There's a song about Alice...), a pitch bend input would need to control a voltage multiplier. This could be an added circuit, after the ribbon circuit, or could probably be merged with the ribbon voltage. I haven't figured out the details, but it's not rocket science. However, it is a lot more work than it would be on something like a Prophet 5.

Ok, I guess that wasn't quick, but at least I didn't have an graphs or get into transistor curves or Bessell functions.

David"

Happy 4th!

Happy 4th to everyone in the US! Here's a nice red, white and blue Buchla Music Easel for yah. And... It's for sale. No joke. A measley $20k will get this beauty. Title link takes you to the listing on gearslutz. If you don't have an account and don't wan to register, the details of the sale are below. That's one heck of a list. The seller is Guidotoons. Start drool now.





"BIG ASSED SALE

Vintage keys-

Buchla Music Easel 208/218/power supply & original case
excellent condition $20,000.00

Moog 35 synthesizer w/ Synth.com sequencer, moog filter and much more $20,000.00

1963 Hammond C3 w/ newer Leslie 122
Little old lady condition…literally
$3500 Nashville Pickup only

RMI Keyboard Computer II RARE!!! excellent 100% working $1500 comes w/ two extra KC I’s for parts Nashville Pickup only

Yamaha YC45-D combo organ…excellent condition $750.00 Nashville pickup only

Recording gear-

iZ Radar w/monitor/cabling/all remotes classic cards all dox and boxes excellent condition all current software and upgrades $6500.00

Pendulum Audio MDP-1 stereo tube pre near mint $1750.00 SOLD!!!

2-Neve 31102 mic pre/eq modules in Boutique Audio rack perfect shape w/Fred Hill line amp mod $6500

2-Aphex 622 Expander/gates $350 each

Neve 33609C stereo comp/limiter excellent condition $2750.00 SOLD!!!!

Telefunken/Neumann U-67 excellent all original $4500.00

2-AKG C-60 great condition $2000/pr

Vintage guitars-

1949 Gibson SJ-200 w/70’s Gibson hsc excellent condition $6500

1957 Gibson LP Jr. refin and relic’d by Mike Lennon w/ ossc $4750.00

2003 Alembic Stanley Clarke Brown Bass reissue near mint w/hsc $3400.00

Vintage drums-
1966 3 pc. Ludwig Club Date kit w/ bags $1250.00

Email guido@guidotoons.com for pics, more info. I RARELY check my messages here so use the email please.

I will entertain trade offers for the following:
API 500 series rack (10 space) and related 500 series pres, eq's.
Rickenbacker Capri guitars
1950's Gibson L-5C

Sorry...NO PAYPAL.

Thanks again....

Guido

www.guidotoons.com"

####################################################

Update via Guido on AH:
"Let me bring everyone up to date on my Buchla saga.

I bought a very large Moog from a gentleman in California for $13,500 shipped.

I took a Moog 15's worth of modules out of the system along with a Bode frequency shifter and the 960/962 combo. I already had a fire damaged 960/962 along with a Moog filter bank and a 921 oscillator bank.

I made a Moog 15 and extension cabinet with the "good" 960/962 and the Bode.

I traded Paul a "Moog 55's" worth of modules straight across for a large Buchla 200.

Only three Buchla modules were damaged by the coke or coffee spillage. The 219 keyboard and both Marfs. I sent those to JL in Canada who, after six months, had not gotten them to work. So I sold them...not working...to a gentleman in California for $11,500.

I had aquired 3-259 "kits" from Don and had Julie Yarbrough build them for around $1000 each. I also had her build a 281 "kit". I put those in the 200 along with my 208 and 218 from my Music Easel. She also refurbished the other modules for around $2500 or so. I then aquired two more 259's from David Kean for $5000. I eventually sold the original Buchla built 259's (for what I paid) because the "kit" 259's sounded, worked and looked better.

I had Peter Grenader build a Milton for the Buchla. This was around $2000. I also bought a 221 touch keyboard from Kean for $4000.

I used the system for two years or so and got an offer I could not refuse for it, minus the Easel and Milton, for $46,000. I took it. I then sold that same cat my Milton for $1750. I also sold the Moog 15 for $7500 and the 960 extension cab, MINUS the Bode, for $5500.

I sold the Bode to a very persistant gentleman in California for....$6,000!

So let's do the math:
I bought-
large Moog $13,500
Moog filter bank $1750
Moog 921 bank $2000
2 Moog 15 cabs $500
Buchla restoration/modules $5500
Buchla 221 $4000

Total $27,500

Traded a Moog 55's worth of modules for the 200.

I sold the Moog 15 for $7500. Sold the extension Moog cab for $5500. Sold the two Buchla modules for $11,500. Sold the Bode for $6,000. Sold the big 200 system for $46,000.

Total $76,500

I still have the Easel. I also aquired a mint Moog 35 last year, so I still have a "rig".

I hope this brings everyone up to date on my Buchla 200/Easel and financial gossip.

Guido"

NYZ DRNH Limited Cassette Release on Gamma Mine Featuring Hinton Instruments Modular

Dave Burraston aka NYZ/noyzelab has a new release out titled DRNH soon available on cassette and digital download. You'll find some info on the gear used exclusively for MATRIXSYNTH further below, but first, here is some info on the release via noyzelab:

"Launching Gamma Mine's explorations into electronic systems music is 'DRNH', a new release from award winning artist Dave Burraston. “DRNH” continues 2016's releases from the ever-prolific artist, who has released works on labels including .MEDS, Feral Tapes, Computer Club and ALKU, this year alone.

Under his NYZ alias, Burraston studies modulation-based synthesis techniques from his Noyzelab studio, NSW, Australia. As an extension to the activities captured on 'DRN4' (.MEDS, 2016), the systems utilised on “DRNH” have been broadened to include additive synthesis, ring modulation and non-linear waveshaping alongside Burraston's staple frequency modulation synthesis techniques. The following is a declassified listing of equipment used in this research:

Hinton Instruments Music Lab modular prototype
Yamaha SY99 & TG77 with cellular automata generated microtunings
MANIAC/Ulamizer-II cellular automata sequencing
Tiptop Z-DSP & Numberz with custom programs

The result is a collection of recordings which take the listener from sci-fi atmospheres (“NYZ-1_HI-SIN”) to whirring electronics (“NYZ_Z-DSP+NUMBERZ-DRN1”), playful FM studies (“FM80Pcellular”, “FM60Pcellular”) to meditative drones (“CSN2-excerpt1-mono”, “DRNH”). “DRNH” releases on 9th December 2016 on white C90 cassette and digital formats:

A1. NYZ-1_SHPR_mono (01:40)
A2. NYZ-1_HI-SIN (07:17)
A3. NYZ-1_FM20Pcellular (02:04)
A4. NYZ_Z-DSP+NUMBERZ-DRN1 (06:42)
A5. FM80Pcellular (05:08)
A6. CSN2 excerpt1-mono (14:29)
A7. FM60Pcellular (05:42)
B1. DRNH (44:44)"

MATRIXSYNTH - NYZ - DRNH synth info leak

--- NYZ:DRNH INFO LEAK MSG BEGINS ---

Matrixsynth asked NYZ for some extra info on this release, so this extra bonus snippet is provided exclusively!

=>

Thanks for asking for some more info on the NYZ - DRNH release, this tape has been great fun to put together. Finlay Shakespeare (Moog Sound Lab UK engineer/tech & also the guy who runs Future Sound Systems eurorack modular) has done a great mastering job on it for his new Gamma Mine label.

The equipment I listed up on Noyzelab is not everything that was used.. but covers a fair bit of ground. I can give you a few extra bits of info though :

NYZ_Z-DSP+NUMBERZ-DRN1 - Made using the Intellijel/Cylonix Cyclebox-II+Expander going into a Tiptop Z-DSP with some custom programs I've written. A big thanks to Richard D James for giving me my first blank Z-DSP cartridge.. "ere u go, get on with summat" or words to that effect :) In this case it was using various ring modulation schemes. For a great reference I highly recommend Graham Hinton's ModMix application pages which details a range of ringmod/wave shaping algorithms :

applications.htm

moreapplications.htm

CSN2 excerpt1-mono - This is from some Hinton Instruments Music Lab modular sessions in 2013, and the methodology is pretty much the same as discussed in 'NYZ DRN4 Declassified' on Matrixsynth. A type of FM/additive/RM switched synthesis controlled via a cellular automata network (MANIAC cellular automata sequencer). The CSN is referred to in my notes as "Complicated Switching Network" so using complex systems to re-route sounds, a bit like a telephone network, imagine a bunch of ants running around repatching a modular synth and thats probably something like what's happening.. I often set these up and run them for days, take a few recordings here and there, it was nice just to listen sometimes as well, not to take a recording. I end up doing that a lot with these realtime generative/algorithmic systems because (depending on the parameters) they can take a long time to unfold, and sometimes you might just want the bit that happens after a few days, just let the system run till then..

FM60Pcellular - This was all done on a TG77 sequenced by the MANIAC cellular automata sequencer, with the original programming done using the SY99. I like to program on the SY99, but these days the outputs are getting very scratchy, so I transfer stuff over MIDI to the TG77 and do the final setup/mix with that + its got 8 individual outputs so little bit extra mixing scope. The voicing on this is a simple mix of FM/AWM voices, the bassline sound is the AWM voice. There's a great resource on SY99/TG77 programming written by Herbert Janssen, which also includes a section on waveshaping :

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Optomix no 2

YouTube Uploaded by Ebotronix on Sep 1, 2011
part 1 here
"Make Noise QMMG Optomix René 2x PP Brains 2x Math 2x Wogglebug
Toppobrillo Ouantimator 2x scale & chord
Analogue Systems RS 110 & Rs100
VCO's Malekko 2x AO & 3x Uncle and Moog FreqBox
Doepfer A 138 -C for filter
A 134 panning via Moog MP201
Clavia D Drum
Logic Master clock via Kenton Pro 2000 II"

Circuit Bent BABELBOX

via this auction
"circuit bent Texas Instruments Touch and Tell unit. This unit is called the BABELBOX. This unit will make bent voice/tone/loop sounds when you turn on any of the bend switches and touch the front panel. You can change the pitch by moving your hand over the photo sensor or touching the body contact and front panel. The size is approx: 14" X 10" X 1.5". The unit uses 2 "D" batteries for power (not included).This is a great instrument for live work or for sampling sounds in the studio... It makes sounds that are very different than the sounds that the Speak and Spell / Math / Read FREAKENSPEAK. It can sound like a theremin or a spaceman on speed! Great for techno,sound FX or electronic music.

Here is a list of the circuit bent features:
2 bend switches that can twist and bend the words and sounds when you press on the holographic panel. You can get the unit to spit out bent words and bent sounds almost endlessly.
1 Glitch button that bends the sound when you press the holographic panel and then press this button.
1 distortion switch that adds fuzz/distortion/pulse sound to the voice or bent sounds.
1 reset button to reset the unit if it crashes.
1 tone "on" switch that puts out a nice triangle wave tone that you can "play" with any or all of the pitch controls. This feature works great with the photo sensor control.
1 Pitch change photo sensor switch to turn on/off the photo sensor.
1 Photo sensor that lets you "play" the pitch of the sound by moving your hand over the sensor without touching it, just like playing a theremin! This is one of the best ways to play the sounds on the BABELBOX.
1 pitch range switch that sets the range of the pitch from high to low. You can switch from the highest pitch to the lowest just by flipping this switch.
1 pitch change brass knob for body contact. When you touch the knob the pitch of the sound will go down. If you touch the holographic foil label with your other hand, the pitch will go even lower.
1 pitch change pot with ball knob that varies the pitch of the sound in both high and low pitch ranges.(as set by the pitch range switch)
1 pitch change holographic foil front panel works when touching the body contact.
1 audio 1/4"output jack to send the signal to an amp or FX unit.
1 Speaker on/off switch to turn the internal speaker off and send the signal to the 1/4" output.
1 super bright LED that strobes to the sounds that the unit makes.
Shiny black paint job with silver marble look.
1 BABELBOX users manual."

Tablebeast Modified Speak Insane Speak and Read

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via this auction

"This is number 1 of my last 2 Speak & Read mods ever. I am closing up shop on this model and my bending mods for sale to the general public for good. So, get one of my last five units now because after they are gone, that is IT. I also have some other Speak & Spell, Math and SK-1 mods available on other listings. Only two each of those are available. If you'd like to see why I am ceasing public sales soon, check out my blog: Search the web for 'XFMR DIY Projects' to see. Presented here is the Tablebeast Modified TI Speak & Spell, model TB-SS01."

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DUAL CIRCADIAN RHYTHMS IV

DUAL CIRCADIAN RHYTHMS IV from Station 252 on Vimeo.

"this is the final version of my big live patch. before going into the patch details I just wanted to say that this patch turned out to be an overkill for live use but ironically was great to play in the studio. Its just way too complex for being playable live, so I'm going to slim it down, patch research will follow in the form of short patch videos, meanwhile...

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Tablebeast Modified Speak Insane Speak and Spell

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

via this auction

"This is number 1 of my last 2 Speak & Spell mods ever. I am closing up shop on this model and my bending mods for sale to the general public for good. So, get one of my last five units now because after they are gone, that is IT. I also have some other Speak & Read, Math and SK-1 mods available on other listings. Only two each of those are available. If you'd like to see why I am ceasing public sales soon, check out my blog: Search the web for "XFMR DIY Projects" to see. Presented here is the Tablebeast Modified TI Speak & Spell, model TB-SS01..."

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Volca Modular Only: Short Song with Six Patches

Published on Feb 18, 2019 Hyper Objeckt

"The Volca Modular is capable of a LOT of different sounds... to help newbies like me learn the ropes, Korg has some patch examples listed on their site. I decided to create a song using only these patches. (links below)

To write this song I started off with a chord progression created by Chord Progression Generator (link below). Then, I used the sequencer on the Volca Modular to record two simple sequences that follow the progression. I also wrote a couple melodies that can be played on the ribbon keys.

This song uses a single synth recorded six times, with a different patch used in each recording. During each recording, I listened to all of the previous recordings while playing. I recorded the percussive patch ("western bongo") first, using the sequencer, to set the tempo. I recorded the most expressive melodic patch ("vibrato") last, to make sure that it fit in with the rest of the song.

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Induction Conduction

Published on Dec 30, 2017 davidryle

"The Last Drone of 2017. A modular synth piece. The bass drone is a pair of Q106 VCO's with a ramp and a saw wave into the Q150 Transistor Ladder filter. Modulations coming from some Mega Ohm Audio LFO's. The audio is then sent through a Synthetic Sound Labs S1310 Digital Delay which is modulated by another Mega Ohm Audio LFO.
Mutable Instruments Braids (Frees State FX build in 5U) along with the triple saw mode. A synthesizers.com Q960 step sequencer sends the voltages for the slow changing chords. Frequency Modulation is from the Yusynth Quadrature LFO. The mixed signal is then sent through a Z.Vex Instant LoFi Junky pedal and on to a moogah (Synthcube) SEM filter in high pass/notch mode.
A dual walking sequencer line is faded in and out. It is made with a pair of STG Soundlabs Voltage Mini Stores in a 5 against 7 step pattern. They are sent through quantizers on to a pair of Q106 VCO's. One VCO is sent through a Behringer DD400 digital dely module and the other VCO is sent through a Modcan 73B Dual Delay. They are mixed into an Oakley Audio (Krips1) Diode Super Ladder filter in low pass mode.
A fast 24 step sequencer line from another Q960 is playing a Q106 VCO triangle waveform into a Mega Ohm Audio modified Q109 Envelope Generator and on out to a TC Electric D-Two digital delay. They are faded in and out via a Makenoise Maths and Synthetic Sounds Labs Octal VCA.
The final bell sound is a step sequence from a Q119 into a trio of Q106's. Two of the VCO's are used in an FM sync mode with ramp and saw waves, and the third VCO is a triangle waveform. They are sent to the X and Y inputs of the Oakley Ring Modulator (Krisp1). That is sent to a Q107 State Variable Filter in low pass mode. The filter is modulated by the modulator VCO (triangle output) if the two Q106's in FM mode. The signal is voltage panned to stereo with a Q111 Pan/Fade module.
All timings are taken from Cubase midi out to dinsync via Mode Machine converter. The BPM is 80. ALM's Pamela's Workout, Synthesizers.com Q173 Gate Math, STG Soundlabs Time Buffer, Time Divider and Integer Divider modules divide down the timings for all sequencer events. I just performed final mix fade in and fade out. Additional reverbs and delays are from a pair of Lexicon MX200 delays."