"Reworked video demo - Music first, explanation second. Introduction to new L-Fusion Electronics Dual Analog Triangle Core Voltage Controlled Oscillator (VCO) compact 16HP Eurorack Synthesizer module with linear, exponential and through-zero FM modulation, sub oscillator and integrated crossfaders. For best sound experience use headphones or studio monitors.
This fully analog Eurorack Synthesizer module offers two identical VCOs - each oscillator is based on super stable analog SSI2130 VCO IC served by 46 opamps doing precision analog math. In total there are 34 analog ICs (Integrated Circuit chips) and 449 other parts. This video demo was made using two of these modules or 4 VCOs in total spread across 3 voices.
In analog VCO sound wave is generated by charging and discharging precision capacitor controlled by temperature compensated exponential converter, generated triangle wave then goes to wave shapers producing different wave forms. Such technology outputs supreme audio quality.
Pitch is tuned to standard 1 volt per octave, oscillator provides excellent tracking across 10 octaves, it can be tuned with precision of +-1 cent or 0.01 semitone."
"This little gem has to be one of our favorite purpose-built performance synths here at EMEAPP. It is the KORG Synthe-Bass SB-100, first released in 1975. Ideal for live performance, the SB-100 is a single oscillator bass synthesizer monster which offers an extremely powerful low pass filter "traveler" as well as a plethora of wave forms and modifiers to choose from to create monstrously fat and punchy bass tones. In this video, electronic music pioneer Don Slepian will demonstrate the SB-100 and the range that this compact little box can cover."
"Introduction to Dual Triangle Core Voltage Controlled Oscillator – Fully analog 18HP Eurorack module, contains two identical VCOs, each oscillator is based on super stable analog SSI2130 VCO IC served by 46 opamps doing precision analog math. In total there are 34 analog ICs and 449 other parts.
In analog VCO sound wave is generated by charging and discharging precision capacitor controlled by temperature compensated exponential converter, generated triangle wave then goes to wave shapers producing different wave forms. Such technology produces supreme audio quality.
Pitch is tuned to standard 1 volt per octave, oscillator provides excellent tracking across 10 octaves, it can be tuned with precision of +-1 cent or 0.01 semitone, this is very precise as human ear can detect detuning from around 3 to 5 cents.
"Dual analog triangle core voltage controlled oscillator (VCO) 16HP Eurorack module with through zero FM modulation based on SSI2130 ICs that provide precision analog exponential converters, oscillator cores, waveshapers as well as high quality voltage controlled amplifiers for wave mixing. Each VCO in the module outputs sine, triangle, saw and square/pulse waves,also voltage controlled mix of them with sub oscillator an octave below controlled with integrated crossfader mixer.
Both oscillators can be modulated with exponential and linear FM, as well as through zero FM/PM and pulse width CV. To ease modulation for each oscillator we have added separate sine outputs with variable gain controlled with modulation knob.
Module also offers master crossfader to mix the outputs of the two oscillators, octave selector switch for each oscillator, as well as knobs for shape, pulse width, pitch and fine tuning. Module is designed using precision voltage reference and other high quality components to achieve +/-1ct (+/-0.01 semitone) tuning across 10 octaves- well below human ear pitch sensitivity which is around 3-5ct.
All inputs and outputs are ruggedized - able to handle rail to rail voltages +12V..-12V."
"The Arithmophone is a new tool for exploring musical intervals from your computer, tablet or phone. It is a musical keyboard for touchscreen devices, you can play it directly from your browser using the built-in sounds or connect it to other instruments via MIDI.
"The Arithmophone is a new kind of musical keyboard, a rethinking of the way we interact with electronic music instruments. It provides easy access to many familiar and unfamiliar notes in colourful two-dimensional layouts and is a tool for exploring different kinds of tuning schemes, both just and tempered.
It currently exists in two forms:
The Arithmophone web app is a self-contained instrument that you can play from your computer, tablet or phone. It works best on touchscreen devices in landscape orientation (try an iPad or something of similar size if possible: the bigger the screen, the easier it is to play the keyboards).
The Arithmophone MIDI is a keyboard interface for controlling synthesizers. If you work with a DAW and software instruments, or if you have a hardware synthesizer you’d like to control through your (touchscreen) computer, this might be interesting for you.
Future ambitions for the Arithmophone project include a native iPad app with MIDI output as well as a hardware prototype.
I’ve made a manual that provides more details about the Arithmophone. I’ve also made an interactive guide to the building blocks of melody and harmony that explains some of the basic principles behind the Arithmophone in an accessible way."
This sound study was created on electronic instruments made by British synthesiser manufacturer EMS. The specific items used were as follows:
Polysynthi VCS3 Mk1 Dual Synthi AKS (known as The Crystal Machine) TKS Sequencer 8-Octave Filter Bank Pitch To Voltage Converter Random Signal Generator Dual High Pass Filter
Note that the Polysynthi has an analogue delay unit which can be accessed via an external input
No other instruments or sound processors were used in this composition
The video was created by Benge at the Memetune VideoLab. The following equipment was used:
Panasonic WJ-MX50 (x 2) Grass Valley Indigo Video Switcher Sony DSR DR1000 DVCAM HD Recorder Sony DSR500 Video Camera Davinci Resolve
Written and recorded by Benge (BD Edwards) at Memetune Studios, UK
"Enter here to win: https://bit.ly/2023GeddyLeeMinimoog | Ticket sales are from February 6 to February 27, 2023 at 11:59 p.m. ET, or when all 10,000 tickets sell out, whichever comes first. Raffle open INTERNATIONALLY, and all proceeds benefit our projects.
Special thanks and Big Moog Love to Geddy Lee 🎸, Meg Symsyk 🇨🇦, André Cholmondeley 🎹, John 'Skully' McIntosh 🎤, Robert Fantinatto 🎥, Jason Amm🎵, Daniel Hewlett👨💻, Linus Booth 🃏 and Standard Time 🕔.
'This is science meets music, and I think it’s important to recognize the role technology plays in all art forms.' — Geddy Lee
Sign up here for updates on our innovative projects, future raffles, and info on how to be part of sharing Bob's legacy and inspiring the future with the science of sound: http://eepurl.com/gL8biD"
"There are many forms of envelope generator, and simpler forms of EG are popular nowadays, for convenience and space-saving, but is the good old Attack/Decay/Sustain/Release or ADSR envelope still worth having? All forms of EG have their pros and cons, so here we'll take a look at how the ADSR works, and some examples of why you might want at least one in your Eurorack case. The focus here is on usage with a keyboard, as this is where a full envelope really shines, since it can also do the same job as simpler forms, such as AD, AR, etc.
The DH-ADSR featured in this video is an expanded version of a single envelope from the Contour Generators module, and so it is also based on the classic all-analogue Minimoog EG section, and shares it's characteristic behaviour. It adds a separate control for Decay and Release, along with an inverted output, with two voltage ranges set by an internal jumper. It also has a 'Slow' mode, for very long envelope times, and a looping/repeating re-trigger function, meaning that it can be used as an LFO, with custom rise, hold, and fall times, or as a delayed envelope for use in conjunction with another EG in order to create complex, evolving envelopes.
See our User Guide video for more about this module:
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.
"I used to number my distortion comparisons, but there are so many now, and in different forms, that I've decided it'll be easier to just go by date.
Here's the January 2023 batch. All have been released fairly recently AFAIK.
The comparison is a little tilted in that some are just drive circuits, while others are full on distortion/clippers. But I prefer to think of it as comparing along a range vs. a head-to-head evaluation.
Note that the video goes from soft to loud at times, because, y'know, distortion, so I recommend not blasting it too loud until you've skipped around a bit to get a feel for the dynamic range.
VCO is an Acid Rain Chainsaw saw wave. Envelope: Zadar. Sequencer: Stochastic IG.
00:00 Intro Sweeps 00:20 Atonal OD 02:44 London Drive 03:49 Twin Drive 04:33 Nijel 05:42 cDVCA 08:08 L'Ecorcheur Sequence 11:07 Atonal OD 14:18 London Drive 16:25 Twin Drive 18:00 Nijel 19:40 cDVCA 22:34 L'Ecorcheur"
- Skis 2 as envelope for Pizza - Magneto as an effect for Pizza sequenced by Hermod - Ensemble Oscillator for bass, Surface for strings, and Sample for drums
"« Tom Leclerc is part of Moss Explorers which is a multidisciplinary cultural and artistic association, between laboratory and exploratory discovery of new forms of dissemination and artistic expressions. This French collective of artists explores nature, mountains, and forests through sound and image. They hike and capture the beauty of wild nature in analog photography. Armed with their equipment, they film ambient sound performances that combine recordings of the natural environment where they take place and improvisations with a modular synthesizer. This is what we can see and hear from their excursions into the splendid untouched nature. This association also includes a real laboratory of arts and techniques, questioning new forms of cultural diffusion. Transmission and awareness are also at the heart of this particular facet. Real efforts are being made to popularize and document these techniques: production of light scenography, energy autonomy, printing, production, etc. Many areas are addressed by the collective. Keeping in mind systemic and ecological issues, the collective also sensitizes cultural actors. It is through this multidisciplinary approach that this project mixes the arts and can forge links between musicians.ne, photographer, visual artist, poet.sse and other artists as well as various craftsmen or public. Leaving free their imagination this collective allows the incubation and realization of the eclectic and conscious project. In this changing world, we need to systematically change the arts, productions, and broadcasting. Many concepts are addressed by the collective, especially in terms of digital and new ways of designing devices for live performances, installations, and performances. This comes in large part through a low-tech approach to digital art. Given the climate emergency, it is important for artists to be at the forefront of new techniques requiring sensitivity and accessibility. Awareness of the impact of art and digital technologies is also a point of honor, as is the knowledge of equipment and material choices. Beyond the technical aspect, there is a new way of living and creating. We can talk about 'project infusion' with the idea of soaking up a place in the long term in order to better understand the social fabric of these territories and to do the best for them."
"We travel one of San Francisco's most controversial thoroughfares, the Great Highway. The Great Highway runs for 3.5 miles along the western edge of the city, next to Ocean Beach and the Pacific Ocean. Our journey joins the Great Highway at its intersection with Lincoln Way, at the southwestern corner of Golden Gate Park. We then travel southward to Sloat Boulevard and continue along the Great Highway Extension to Skyline Boulevard and Lake Merced.
The Great Highway was closed to motor vehicles in 2020 during the early months of the COVID-19 pandemic, but remained open to pedestrians and bicyclists. It has also periodically closed due to flooding and sand accumulating on the roadmap. Since the middle of 2021, it has operated in a hybrid mode, with the road open to motor vehicles Monday afternoon through Friday morning, and then closed on weekend from Friday afternoon to mid-day on Monday, as well as on holidays. The Great Highway Extension south of Sloat Boulevard is scheduled to close to traffic permanently in 2023.
Original electronic music by Amanda Chaudhary, featuring sounds from Ellott Sharp's Invented Instruments sample pack. This forms both the percussive pattern throughout the video as well as a section of samples played through the Arturia CMI V. Addition synthesizers and effects include:
Cherry Audio GX-80
Strymon Starlab module
East West Ra library (tablas)
MOK Fitryg
Arturia Delay Tape-201
Please check out our related video featuring Sunset Boulevard in western San Francisco [posted here]
"Announcing ALM034 - ‘Pamela’s PRO Workout’ - New classes have started! The next evolution of Pam is here..
’Pamela’s PRO Workout’ is a compact programmable clocked modulation source providing 8 highly editable outputs that can produce everything from simple clocked triggers and complex rhythmic wave forms to quantised melodic patterns, random chaos and more, all correlated and synced to a BPM based master clock.
Building on the original ’Pamela’s Workout’ & ’Pamela’s NEW Workout’ the evolved ’PRO’ Pam maintains the precursors' form factor and intuitive workflow but improves and adds many new features with upgraded hardware, more CV inputs, a new full colour hi res display and rewritten software adding many new enhancements like micro grid timings and cross output modulations.
ALM Busy Circuits has been creating incredible eurorack modules for the last 10 years, and on the eve of their birthday they give back with the unveiling of Pamela's Pro Workout!"
Originally released in 2012 and updated to ’Pamela’s NEW Workout’ in 2016, the next evolution of Pam, the ‘PRO Workout edition’ will be released by ALM Busy Circuits on the 18th November 2022 worldwide.
Over the last 10 years Pamela’s Workout has cemented its place in Eurorack systems as a must have unique module. Originating as a useful 8 channel clock & function generator it quickly morphed into so much more; a groove box capable of creating Euclidean & randomised rhythms, a generative music maker turning random control voltages into looped quantised melodies or endless generative melodic sequences. A lot of functions that attracted people to Eurorack were accessible in a compact 8HP ‘Swiss Army knife’ - hence its appeal.
With ‘Pamela’s PRO Workout‘ ALM have built on the original designs maintaining the functional form factor and intuitive workflow adding exciting new features:
A Bigger Hi-Res Full Colour Display: Clearer user interface, visual grids, bigger text, colour options and more.
New Wave shapes: Ratchets, Trapezoid, Parabola & 2 new envelope options.
Cross Output Modulations: Link 2 outputs together to create a unique mix of control voltage for resetting, logic functions & creating unique waveforms.
Flex Operations: Utilise ‘micro grid timings’ to create bouncing ball type beat loops, sped up / slowed down outputs or just general chaos.
More CV Inputs: Up to 4 inputs now available for CV control over Pam’s functionality.
Faster dual core processing: with increased timing and output resolution
"A repost of a video by Daniele Chierichetti demonstrating lead sounds and showing some of the sonic possibilities of an AJH Synth Eurorack modular synth system. The standard MiniMod voice forms the basis of the system featured here, and this voice is directly based on the original R.A.Moog version of the Minimoog, and as such it is capable of the same classic lead sounds, the same warmth, punch, and character. However, because it is modular, it takes this voice way beyond anything it was originally capable of, opening it up to the now huge Eurorack universe, including a wealth of modules by AJH Synth.
These high-end modules are mostly based on classic vintage designs, some of which are very difficult to obtain nowadays, but brought firmly into the modern Eurorack era by a wealth of connectivity, functionality, and reliability, that simply didn't exist 'back in the day'. Also, some modern, digital modulation modules compliment the range, hugely expanding it's sonic scope."
You might remember the announcment for Lost Analog by Barry Schrader posted back in September. Not mentioned was some of the unique history and significance of this particular release featuring the Buchla 200 in the liner notes, including possibly the first quadraphonic electronic music score for a commercial film.
The liner notes for the release follow:
I’ve chosen to call this album Lost Analog not only with reference to my previous release, Lost Atlantis, but also because all of the works are analog electronic music, and parts of them are, indeed, lost. All of this music was created from 1972 through 1983, using the Buchla 200 analog modular synthesizer, also known as “The Electronic Music Box.” The music contained in this Lost Analog album was originally created in 4 channels, sometimes referred to as quadraphonic sound. In mixing and remastering these pieces as stereo files, some of the original aural intent has unavoidably been lost, another reason for calling this release Lost Analog. As I write this, realizing that some of this music hasn’t been heard in public for almost fifty years, I’m taken back to much earlier days in my life and career, which, although remembered, are also lost, as are all of our pasts.
Death of the Red Planet Suite” (1973) is made from parts of a score for the film “Death of the Red Planet." The 20-minute film was the first to be created from images made with lasers, and it toured theatres along with “Yessongs,” a concert film of the band Yes. It is, I think, the first quadraphonic electronic music score for a commercial film. This suite of the music from the score is all that I have of the original soundtrack. Whether or not the film still exists in its original theatrical format, I have no idea. More information on this film may be found here.
“Bestiary" (1972-74) is a five-movement work drawing on mythological creatures from medieval bestiaries, treatises about real and fictitious animals. Originally, I had planned seven movements, but ended up composing only five. The first and last movements are imaginings of mythological beasts convening and dispersing (the latter in an increasingly disorderly way), while the interior three sections focus, respectively, on sea serpents, a unicorn, and basilisks, the latter being venomous winged reptiles that supposedly lived in caves or deep wells. “Bestiary” is the first work of mine to fully incorporate what has become one of my main compositional concerns: the creation of new and transformational timbres.
After composing “Lost Atlantis”, I wanted to do something very different, and so I wrote "Classical Studies" (1977). These three short pieces use abstractions of old musical forms: canon, chorale, and perpetuum mobile. The timbres are almost always changing with each successive event in these works, very quickly so in “Perpetuum Mobile."
The”Moon-Whales Suite” presents three sections of a larger work, “Moon-Whales and Other Moon Songs" (1982-83). This is a seven-movement work for soprano and electronics. The even-numbered movements are for soprano accompanied by electronics, and the odd-numbered movements are for soprano solo followed by an electronic music section without voice. The three movements presented here, are the 2nd, 4th, and 6th sections of the work, without the soprano introductions. The work is based on poems by Ted Hughes, the British Poet Laureate from 1984 to 1998, taken from his collection “Moon-Whales and Other Moon Poems." The three poems referenced are also the titles of the pieces in this suite: “The Moon-Oak,” “The Moon-Bull,” and "Moon-Wings". Reading the poems will help to uncover the inspirations and ideas behind these works, but I think they also stand on their own as musical compositions. While the master tapes for the electronics of these pieces still exist, they are unplayable due to tape deterioration, yet another reason for this album to be called “Lost Analog."
Although it may appear similar to the classics XBASE 09, 999 and 888, the ALPHA BASE has an entirely new design under the hood. We have put in the concentrated know-how of the Jomox drum machines and of our synths of the past 20 years. We have simplified some things, but also added new components or have combined them new. The outcome is the best sounding and most versatile drum machine that Jomox has ever built.
Features
11 Instruments: Kick, MBrane, Hat, Clap, Rim Shot, Crash, Ride, XSample1 XSample2, FM synth Real analog Jomox kick drum Real analog Jomox MBrane voice 2 coupleable F-OSC for complex analog snare, percussion, bass and tom sounds ranging from 16Hz to 20kHz 2 sample based instruments with analog VCA ADSR envelope and/or HH filter 4 sample based instruments with analog VCA ADSR envelope and/or resonating multimode filter 2 sample based instruments with external sampling input and pure digital playback. 1 FM synth with 4 operators and max. 6 voices for percussive sounds. Effects delay, reverb with send per instrument LFOs: per instrument one LFO (MBrane 2 LFOs) with 64 wave forms 250 samples 16 Bit/48kHz in internal flash memory. SD card slot for loading of samples."
"Always in a studio rack, excellent condition. Purchased new back in the day.
The Bit-01 is a 6-voice programmable polyphonic analog synthesizer with digital control. It is essentially a rackmount version of the Bit-99 keyboard synthesizer. It has two analog oscillators per voice that are digitally stabilized and controlled. Also on-board are resonant filters, ADSR envelopes and two LFOs. Fairly easy hands-on editing and a layer/split function make this a very useable poly-synth! The MIDI implementation is basic but useable and there are 99 memory patches. The Bit-01 is well suited for studio use and in all forms of electronic music."
"Comes with 90 Disks, Emu expression pedal, and Anvil Flight Case. All functions currently work. You can sample into the EMU onto floppy disk if you so desire. Here are the sounds in order: 1. Harp 0:00 2. Musical Saw 0:11 3. Male Choir 0:32 4. French Horns and Flute 0:53 5. Prophet 1:06 6. Synth Wind 1:23 7. Soft Brass 1:33 8. Mountain Lion 1:45 9. Synth Brass 2:02 10. French Horns and Flute (with Filter) 2:25 11. Tabla 2:46 12. Bowed Cymbals 3:00 13. Sitar 3:17 14. Steel Drums 3:26
The E-mu Emulator was a floppy disk-based keyboard workstation which enabled the musician to sample sounds, recording them to non-volatile media and allowing the samples to be played back as musical notes on the keyboard. The 51⁄4” floppy disk drive enabled the owner to build a library of samples and share them with others, or buy pre-recorded libraries on disk.
The Emulator had a very basic 8-bit sampler – ; it only had a simple filter, and only allowed for a single loop. The initial model did not even include a VCA envelope generator. It came in three forms: A two-voice model (only one of these was ever sold), a four-voice model, and an eight-voice model. When the original Emulator was turned on the keyboard was split. It was designed to be played in split mode, so playing the same sound on the full keyboard required loading up the same sound floppy disk in each drive.
Stevie Wonder, who gave the sampler a glowing review at the 1981 NAMM convention, received the first unit (serial number “0001”). Originally 0001 was promised to Daryl Dragon of Captain & Tennille, because he had been a loyal E-mu modular system owner for a long time before that. However, Wonder was more famous. In 1982, the Emulator was updated to include a VCA envelope generator and a simple sequencer, and the price was lowered. Approximately 500 units were sold before the unit was discontinued in early 1984. Other prominent users of the original E-mu Emulator were New Order, Tangerine Dream, and Genesis, and it was among the many groundbreaking instruments used in the production of Michael Jackson’s “Thriller” album. Composer and Writer David Frank of The System used the original Emulator on his productions from “Sweat” to “Don’t Disturb this Groove.” The Residents, who had gotten the fifth Emulator to ever be produced, used the instrument extensively on their album The Tunes of Two Cities.'"
"You all have been asking me about making a test equipment based filter plugin, and now its here! Together with @AudioThing I developed DIALS, an experimental channel strip. Based on a classic American passive band-pass filter and a modified German broadcast transmitter, DIALS brings you the massive sound of test equipment music in plugin form. Whether you want to mangle signals in broad strokes or finely sift through frequencies, DIALS has you covered. If you desire to tread further, it becomes an instrument unlike anything else.
"Take a trip to the outer reaches of music production with the Hainbach Bundle. LoFi radiations from a Cold War wire recorder, the rotating madness of the Radiophonic Workshop, metallic resonances from 1930s France, Stockhausen-esque feedbacks, or a trip through Noise in all its forms, the Hainpack is as steeped in history as its full of modern music tools."
We have a beautiful Midi Theremin for sale and we are shipping to Australia, UK, Canada, Europe, USA and more. If you are considering to buy a Theremin, please take a closer look at our Midi Theremin ...
midi theremin for sale
o Standalone Stereo Theremin
o MIDI Theremin Controller
o MIDI Drum Trigger Interface
o Unique Finger Drum Theremin
o Theremin Controlled 24 db Filter
o Theremin Controlled Ring Modulator
o Automatic Tune and Stabilise
The Midi Theremin in a "nutshell" :
We are exited to introduce you to a revolutionary approach to an old theme. We have re-invented this almost ancient electronic musical instrument and brought it into the 21 century. Using the power of modern electronics, we have unlocked new frontiers and enable you to make creative music in a new way.
Our Midi Theremin is more than just a simple Theremin:
(1) It can be played like a normal Theremin producing audio from a variety of build in oscillators, wave-forms and modulators, to create a multitude of different sounds and effects.
(2) It is also a very flexible Theremin Midi-controller. It is capable of producing a stream of midi messages like pitch-bend-messages, control-messages and note-on/off messages to control other midi-capable instruments or samplers. Using a "trigger-pad" , the Midi Theremin becomes a percussion instrument that can trigger samples and modulate them accurately in various ways.
(3) The Wave Theremin can also be used as a theremin controlled filter and ring-modulator, processing signals from the audio input or internal generators and sending the resulting wave forms to the audio output. The ladder-style self-oscillating 24 dB resonant filter is one of our favorite, allowing you to "play harmonics" in a new way.
A note from the designer:
Obviously this Theremin is more geared towards the "electronic music experimentalist" (like myself) and the Techno performer, and therefore demands it's own niche in the market (Sorry all you Theremin-Purists out there). Having one hand occupied with accurately controlling the pitch, leaves the other hand free to create improvised rhythms or to adjust all those parameters i.e. octave skipping, auto-trigger and volume etc...
