"We take a trip along Interstate 710, also known as the "Long Beach Freeway", one of the major freeways in the Los Angeles Metropolitan area. We start on California Highway 91 in the town of Bellflower and then switch on to I-710 northbound at the northern edge of Long Beach. The freeway winds its way through several towns and neighborhoods along the Los Angeles River before turning northward towards Pasadena. Along the way, we cross several other major freeways, Interstate 105, Interstate 5, California 60, and Interstate 10.
I-710 currently ends somewhat abruptly at an intersection with Valley Boulevard in the town of Alhambra. Originally intended to continue northward to Pasadena, the extension has been blocked by community opposition, and it this point will likely never be completed.
Original music by Amanda Chaudhary features the following instruments:
EastWest Fantasy Percussion, Fantasy Brass, and Stormdrum 3
Arturia CZ V, Pigments, Vocoder V, and FX Collection
Cherry Audio Elka X, Mercury X, Pro Soloist and Stardust 201
Buchla Red Panel 158 and 156m
Styrmon StarLab reverb module
Dreadbox Euphoria Phaser module
Noise Engineering Sinc Bucina
Arturia MiniBrute 2"
"Jim Heywood of Earmonkey music gives us a demonstration of Telepathy - a full voice analog Eurorack synth module with multi-destination LFO and Envelope prviding deceptively deep modulation in a small form factor. Jim has hooked up 6 of them to make a luscious polysynth capable of different settings on each individual module.
Telepathy Bundle (6x Telepathy, 1x Psychosis, 1x 70HP modular case) Price: 967 Euros (excl. VAT)"
"MS Processing is a way to manage the stereo image or to make some special FX, often used for mixing and mastering.
The idea is to convert a stero signal (Left-Right) into 2 signals: Mid and Side. In that way, we can process differently the center and the side of the stereo. And after that, going back to a Left-Right signal.
This is something the new CONTROLE Attenuverter Bank can do very easly.
This is also an example of a complexe patch that the Attenuverter Bank can do.
SequenceX For Dreadbox Typhon - The power of Greek mythology embodied in more than three dozen analog sequences.
These sequences can be amazing part of Techno, Melodic Techno, Progressive Trance, Chillstep, Darkwave, Synthwave or as a great background for Film scenes. The possibilities where you can use these sounds are really endless.
Despite the not the most convenient sequencer, we managed to squeeze working sequences out of it.
Soundbank includes 32 Presets with a 32 Sequencers inside presets."
"My first submission for #jamuary2024
Polyend Play Plus is providing all drums and sequencing the Korg Volca and Dreadbox Erebus. Also playing a few melodic samples and minimal use of the Play’s internal synths, which you can hear mostly at the beginning and end of the video.
Meris Mercury7 is in the the send of my mixer for some dub swells. Volca Keys is running through an Electro Harmonix Memory Man Deluxe and a Boss DC-2w chorus"
Dark ambient house w/ Polyend Play+, Critter Guitari Organelle, and Dreadbox Erebus & Nymphes
"Here we play a few excerpts from sounds we've made with the Dreadbox Telepathy Bundle.
The Dreadbox Telepathy bundle is a Eurorack format synth with very interesting MIDI controlled capabilities. You can control each module individually, link them together to create up to a 6 voice polyphonic synth, or mix and match to create wild multi-timbral patches.
The bundle consists of 6 x Dreadbox Telepathy Full Voice Synth modules and 1 Dreadbox Psychosis 6-Channel Stereo mixer with 4 FX. They are now available from your favorite synth shops.
All sounds in the video are made only with the Telepathy Bundle. No other external FX or synths were used. Enjoy!
"... in 2023. Thanks for all your support, and I'll be back with new energy and interesting projects next year. Have a good new year and may all your plans and dreams come true. ;-)
This improvisation is based on Zynthian, which was one of the many pleasant surprises '23 had in store. It's sequencing 8 plugins and Motor Synth. Also acting as effects unit for the Dreadbox. Both synths are connected to Zynthians audio inputs.
"This sonic experiment was inspired by the Dreadbox Erebus LFO having a whopping 10-minute long cycle time. Therefore, I thought it might be fun to run that LFO into every single filter I have with a CV input, including big analog polys with a VCF control input on the back intended for expression pedals. The honorary VCFs include: 2x Roland System-500 521, G-Storm Electro SH-2 and SH-5, Dreadbox Erebus, Oberheim OB-X8 (OB-X SEM LP mode), Sequential/Oberheim OB-6, Roland Juno-6.
Interestingly the filters on the big polys don't open all the way. I assume this has something to do with the inputs being calibrated for expression pedals rather than Eurorack CV. According to my oscilloscope, the Erebus LFO range is -5v and +5v. This is pretty typical for Eurorack. I set the cutoff at about 50% for all the filter modules. This seemed to work perfectly. But I was not able to do that with the polys. With the cutoff at 50%, the filters would open up all the way, but they wouldn't close nearly enough. I had to bring the cutoff completely down, and as a result, the filters on the polys wouldn't open up all the way. I did alternate takes where I walked around and tried to smoothly nudge each one up in order to get the filters fully open, but that was a disaster. In retrospect, I could have set up a one-shot MIDI LFO to do this and triggered it once at the right moment, but I already had enough things to worry about.
One of my audio interfaces is dead or dying, and it keeps ruining takes and sometimes crashes Logic. I finally turned it off and went with my lone Focusrite Scarlett 8i6, which has always been solid. But now I had an extra synth without an input and I wanted to have the polys on their own tracks so that I could blend them in with the Eurorack stuff to taste. And there's no possible way I could overdub since the whole point is to have one LFO sweeping all of the filters at the same time. I ended up resorting to an old 1989 JVC cassette deck to record the OB-6. So that shot at the opening of the video is legit. There's such a big wall of sound here that it's impossible to tell if it ended up adding any saturation. It definitely added some hiss and crackles but that's fine in this context. The cassette itself is ancient, cheap consumer grade, 60 minutes per side. I ended up recording over some 90's black metal that had been there since, well, the 90's.
To add to the grit and grime, I intentionally ran the filters from the Eurorack straight into the audio interface, bypassing the typical flow through VCAs. Ok, fine, I totally forgot about the VCAs, but it sounded extra dirty, so I didn't stress out too much. I certainly wasn't going to power everything back on, tune everything up and do another take because of it.
Obviously when the filters are closed or nearly closed for several minutes, there needs to be something to fill that gap. That's where the generative stuff comes in. There's 3 different sample and hold circuits feeding different things, including back into themselves in one case. Some voltage is running through different logic gates in conjunction with other, steady LFOs. Since I'm out of filters, the sound consists of pink noise through a VCA, triggered at random by a very short decay envelope. This runs into a recovery tape delay module, that gives sort of a slapback effect.Then there's a single oscillator, pitch controlled by another S/H circuit run through a quantizer and then running into the spring reverb tank. It's also triggered by the same random voltages triggering the noise hits. Then there's the Mutable Instruments Plaits, making the plinky plonky sounds, again everything triggered at random. It's running into the majestic Calsynth Typhoon.
The last thing to note is that the Erebus LFO also acts like an automated fader to increase and decrease the level of the VCA where all the rhythmic sounds are running through. I simply inverted the signal of the LFO output to do this. As the filters open up, the VCA level diminishes. When the filters fully close, the VCA level increases to maximum.
Last last thing. That knob twisting near the beginning isn't for sci-fi FX, though that's an added bonus. I was simply trying to get the LFO back to its "starting position." I didn't quite succeed. I don't believe the Erebus has any sort of LFO triggering mechanism to help with this. All good though.
FX: Audiothingies DoctorA delay and reverb, Boss DM-101 delay
No post processing other than a 30Hz low cut and slight limiting on the master"
"using the Squarp Hapax to sequence the Dreadbox Nymphes through an Alesis Quadraverb (flanged echo patch). just a quick rough jam from the first ~30 minutes of playing with the synth, brand new to me."
"Welcome to Bad Gear, the show about the world's most hated audio tools. Today we are going to talk about Dreadbox Nymphes. Is this compact polyphonic analog synthesizer a worthy replacement for classics like a Roland Juno or the Sequential Circuits SixTrak it was inspired by? Is it on par with other Dreadbox synths like Erebus and Typhon and is the UI truly a tragedy???"
Chapters: 00:00 Intro tune 01:08 Overview Dreadbox Nymphes 01:39 Polyphony, Oscillator 02:01 Autotune Mode 02:08 Shift Modes: Pulse Width, Detune 02:32 More Polyphony Modes, Chord Mode 02:51 Lack of Multitimbrality and Sequencer 03:00 Filter, Self-Oscillation, HPF 03:12 Envelopes, LFO1 03:28 LFO2, Introduction to Menu Diving 03:36 Recalling a Patch 03:55 Routing Matrix 04:13 Mono Reverb 04:34 Mono Output, Rear Panel 04:48 Pricing 04:58 Hate 05:22 Jam 1 (Techno) 06:14 Jam 2 (Slow Arrangement) 07:09 Finale (Epic Stuff) 07:40 Verdict
Effects Chain Loop
