Fragment Synthesizer - Various sounds additive / granular

Published on Nov 4, 2017 Fragment Synthesizer

"Fragment is a collaborative additive / spectral / granular live-coding web. platform, the spectrum is created by a live GPU script, the generated visual is then converted to audio by an additive or granular process.

Fragment is able to produce high-quality fast additive and granular synthesis simultaneously with re-synthesis support, it has many features making it a bliss to produce any kind of sounds or visuals.

This is a demonstration video of a multitude of sounds created within Fragment, mostly additive synthesis (90% of them) but some parts are granular, this also demonstrate granular re-synthesis @6:54 with more than 400 layered grains and vocoder effects @3:11, some parts (the beginning) use distributed synthesis mode and are able to play more than 1200 simultaneous partials on a i7 CPU with 4 synthesis server.

Small amount of reverb/delay effect added inside Renoise DAW, low-pass filters are used on granular sounds because Fragment play the grains sample as-is, MIDI sequences are coming from Renoise.

You can try the Fragment synthesizer now at : https://www.fsynth.com

Documentation: https://www.fsynth.com/documentation

Forum : https://quiet.fsynth.com

Renoise : https://www.renoise.com/"

Fragment Synthesizer - Granular + Additive synthesis + Visuals

Published on Oct 6, 2017 Fragment Synthesizer

"Fragment is an online collaborative additive / spectral and soon granular live-coding web. platform, the spectrum is created by a live GPU script, the generated visual is then converted to audio by an additive process (re-synthesis).

Fragment is able to produce high-quality fast additive and granular synthesis simultaneously with re-synthesis support, it has many features making it a bliss to produce any kind of sounds or visuals and is aimed at artists seeking a creative environment with few limitations to experiment with, a programmable noise-of-all-kinds monster.

This is a video of one hour jam on ambient soundscapes made of (simple) granular and additive synthesis patches with live compositing visuals produced from two videos.

This demonstrate granular synthesis features, videos looping/compositing and mixing sound synthesis methods, some new features of the just released one year massive anniversary update.

On this video, i also use the new distributed sound synthesis tool which is able to split sound synthesis computation over multiple machines on the network or cores, 4 Fragment Audio servers were running over multiple core on a i7 CPU to provide polyphonic and multitimbral (4 timbres) additive + granular synthesis with over 150+ grains at the same time.

The code used to produce the granular soundscape and the additive synthesis partials is quite simple this time, this just use envelope, exponential decay of harmonics and pKey."

You can try the Fragment synthesizer now at : https://www.fsynth.com

Fragment - Abstract ambient JAM - Subtractive / Karplus / PM / Additive / Granular

Published on Apr 14, 2018 Fragment Synthesizer

You can find additional posts featuring examples of Fragment here.

"Fragment is an online collaborative additive / spectral / granular / subtractive / PM synthesizer and live-coding web. platform, the spectrum is created by a live GPU script, the generated visual is then converted to audio by an additive/granular/spectral/subtractive/PM process, Fragment is basically a programmable noise-of-all-kinds software.

This is a video of a live jam session featuring all types of synthesis (in order : subtractive / physical modelling / additive-fm / granular) supported by Fragment and the improved subtractive synthesis algorithm (Poly BLEP) which allow fast and anti-aliased subtractive synthesis, this is still WIP (problems with filter resonance) but quite usable as demonstrated with several acid-like patterns!

Renoise DAW is used in the background to output audio + MIDI out and add reverb / delay (Fragment is also used for delay effects).

4 instances of the sound server are used on an Intel i7 7700, 14Gb of RAM and a gtx 970 GPU.

Videos used in this session :

KYKLOP by MFX : https://www.youtube.com/watch?v=qjxZQ...

The butterfly effect - Andromeda Software Development (ASD) : https://www.youtube.com/watch?v=vF-eV...

Shader used & modified : https://www.shadertoy.com/view/XtsBDf

You can try the Fragment synthesizer now at : https://www.fsynth.com

Documentation: https://www.fsynth.com/documentation

Forum : https://quiet.fsynth.com"

Fragment - Granular noisescapes

Published on Jan 23, 2018 Fragment Synthesizer

"Fragment is an online collaborative additive / spectral / granular / subtractive / PM live-coding web. platform, the spectrum is created by a live GPU script, the generated visual is then converted to audio by an additive/granular/spectral/subtractive/PM process.

Fragment is a programmable noise-of-all-kinds software.

This video is full of granular noises coming from 21 samples forming some granular noisescapes, some videos are played and mixed with some effects, the visual interact with the audio through pixels brightness, Renoise is used to sequence and send MIDI events to the synthesizer."

You can try the Fragment synthesizer now at : https://www.fsynth.com

Fragment 2.0 - Wavetable drone

Fragment Synthesizer

"Fragment is an online collaborative programmable noise-of-all-kinds realtime audio / visual software.

This video show the Wavetable feature of the coming update with an evolving drone and a glimpse at virtual channels and the fx chain. Unlike previous videos it is all standalone : client + audio server

The new version of the synthesizer is a huge step forward and come with increased stability, a complete set of new oscillators covering most of the available sound synthesis spectrum (filters bank, wavetable etc.), instrument / channel separation with virtual channels, embedded FX chain with Faust support for custom DSP effects, Jack support for the audio server, enhanced workspace, more inputs (MIC, improved analysis), embedded audio server files manager...

You can try the Fragment synthesizer now at : https://www.fsynth.com"

Fragment - Granular/Additive soundscapes & pixels-based delay

Published on Dec 10, 2017 Fragment Synthesizer

"Fragment is an online collaborative additive / spectral / granular live-coding web. platform, the spectrum is created by a live GPU script, the generated visual is then converted to audio by an additive/granular/spectral process.

Fragment is a programmable noise-of-all-kinds software and excel at sound design by combining two of the most powerful synthesis process with a live coding aspect, Fragment also excel at visuals.

This is a video of a live additive + granular ambient soundscapes session which demonstrate pixels-based delay and the soon to be released update of the improved granular synthesis/sound engine.

The video also demonstrate some kind of "vector based synthesis" by using a XY widget in Open Stage Control (through OSC) with the 4 channels volume mapped onto the widget axis resulting in cross-fading of the 4 channels.

The sound in this video is produced by 4 audio server instances (distributed synthesis) on a single i7 6700 machine, the overall CPU load can be seen on the top left corner along with number of partials for each channels, the load generally sit around 5% with peak at ~30% @28:00.

Most of the sounds heard in this video has a delay applied with a simple pixels-based delay (4 lines) which mean that the delay come from Fragment, not from the DAW, this delay can be heard on several sections and can be differentiated by its parameters being tweaked, notably around @22:00.

The granular synthesis engine was battle-tested and improved, many bugs were fixed resulting in big improvement on the sound quality, moreover pitch shifting is now implemented with linear resampling.

The audio server was also improved and is now able to drop frames meaning that if the client is too late sending its pixels frames, the audio server compensate by retaining its last state, this improve the audio quality greatly when few frames are dropped, which is to be expected with browser reflow or high load, frames drop can be heard extensively in videos previously released, there is now near zero audio issues due to frames drop.

The update should be released this month.

9 samples are loaded and used in this video, all of them are single sounds of real or virtual instruments.

CLICK FOR MORE »

Details on the Pittsburgh Modular Fragments Generator

video posted here

Full details via Pittsburgh Modular

"The 'Fragments' are a set of pings, or short bursts of sound created by a trio of Twin-T filters. The Twin-T filter circuit was used by some classic analog drum machines to create percussion sounds. Realistic tom-toms, congas, and kick drums can all be made using this method. The Twin-T filters included in the Fragments Generator have been adapted and optimized for a specific purpose. The idea was to create an analogue method of generating sounds at the level of individual "grains" or "fragments" similar to a traditional digital Granular synthesizer. By approaching the process from another angle we have come up with an entirely new sub-genre of synthesis.

The sound produced by the basic Twin-T filter is quite close to the idealized grain, a decaying sine-like waveform that can easily be varied in amplitude, frequency, and position. Typically, the Twin-T filter produces a single sound up to a few times a second. What would happen if that occured a thousand or more times per second? The Fragments Generator creates a constant tone that consists of overlapping and interacting fragments which can be manipulated in a number of ways.

Amplitude
The amplitude of each fragment is set at its initiation. This is important as just creating a variable mix of "full strength" tones would not relize a wide enough scope of fragment-to-fragment variability.

CLICK FOR MORE »

Fragment - FM/Additive & Processing.js input

Published on Aug 17, 2018 Fragment Synthesizer

"Fragment is an online collaborative programmable noise-of-all-kinds realtime audio / visual software.

This video demonstrate additive / FM synthesis with the new Processing.js feature (available on GitHub, not yet released) which allow the creation and live-coding of Processing.js sketches inside Fragment.

Sketches are manipulated as a texture inside the fragment shader like any other inputs.

Processing.js is the sister project of the popular Processing visual programming language, it is a powerful language for graphics programming which allow to do any kind of visuals and logic.

You can try the Fragment synthesizer now at : https://www.fsynth.com"

Rare Chromaton 14 Analog Video Synthesizer

images via this auction

"extremely rare analog video synthesizer from the 1970's. Here is an opportunity to purchase a piece of history. The Chromaton 14 was designed and manufactured by Ralph Wenger in 1977, and released by BJA Systems. It originally sold for $ 9,500 USD, and there were approximately 120 units sold. As of today, less than 8 working units are known to exist. This may be your only opportunity to own such a rare video synthesizer. The Chromaton 14 is a fairly small video synthesizer, approx 18 by 18 inches square. It includes 2 camera inputs with color quantizers, but can also generate fairly complex color images without any external inputs. There are six pattern generators that can be sent to each of the chroma keyers (there are 10 preset patterns in each). The beauty of the Chromaton is that it can be played like an instrument. There are two motion generators in the upper right which can control the movement of the patterns. When the patterns are combined with the camera inputs, truly psychedelic imagery results. The pattern generators and motion generators can be set to respond to an audio input. All of the switches and knobs on the front panel are 0-5v, so this would be ideal to modify for voltage control (and for use with a modular synthesizer). Since there are two camera inputs, the system is ideal for video feedback applications.

My unit was recently serviced and cleaned. I have tested all the pattern generators as well as the camera inputs and controls. The camera inputs were designed to be used with broadcast cameras. They must be synced to the Chromaton with a genlock/sync signal. If you want to connect consumer cameras, you will need to use a timebase corrector or video mixer to syncronize the cameras/video sources with the Chromaton's sync signal. I am not including this equipment; you must provide this on your own.

I am including the schematics for the Chromaton 14, in case it needs future service. As with all vintage equipment, I am selling it as is. I guarantee that it is working and will arrive functional; however, there is no warranty on this item as it is vintage analog synthesizer equipment.

Here is a sample video showing a few basic patterns, the response to audio, and that the camera inputs are working. The video shows only a fragment of what this synthesizer is capable of. Be aware that the camera used is a consumer video camera which is not syncronized to the Chromaton, so the picture fluctuates. If a timebase corrector or video mixer was utilized, the image would be stable:

Chromaton-14 Demo

YouTube via sydilaxe. via Bryan

"Demonstration of Chromaton 14 video synthesizer. Camera inputs are not synced, so they are not stable."

Oberheim Modular System? Update: OB-Xa Modular

via this auction

Details Google translated:

"To the instrument: This instrument is an absolute rare piece and a sole specimen/single copy. Here one can buy a Synthesizer, which otherwise nobody has. The complete prehistory of the instrument is not to be clarified any longer completely, it acts however obviously around the prototypes of a similar modular system of upper home from the year 1982. Construction units from the famous OB-X and Whether-Xa Synthesizern of Tom upper home are used. The sound reminded very much of the looked for OB-1 Synthesizer, is however substantially fatter and more pressureful and because of the modular structure many more flexibly due to the 3 VCO´s.
Everything is to be out-gotten by ultrafetten basses, alive Leadsounds, elektonischer Percussion, (poly) rhythmic sequences, noises and the most driven off sounds of effect from this “crate” with something trouble and consideration. The basic sound is fat, warmly, alive, sometimes somewhat dirtily, thus 100% genuine similar to! The filter sounds upper home typical see industrial union warm.

3 VCO with the waveform-shaping saw tooth, triangle and rectangle (+ PWM, FM, Sync).

1 MIXER with 5 entrances and 1 exit

1 VCF Lowpass with 24 DB/Oktave and 3 modulation entrances (Env., cut off, Resonance). Self oscillation is possible.

2 LFO with the waveform-shaping saw tooth, triangle and rectangle. The range of control of the LFO´s is quite far, for completely fast modulations takes one the VCO anyway.

2 ADSR with good reason fast Attack. Not completely as fast as Minimoog and ARP-2600, but faster than all digital Synthesizer envelopes. For electronic Perkussion of all play ways it is fast enough.

To those it to say, thus execution of kind of condition gives 2 VCA to few.

Here power pack and power switches are accommodated power module and as characteristic per quadruple a fragment for in or outgoing CV and gate signals, which offers very various Verbindungsmöglichkeiten with external analog equipment from in former times or today.

MIDI INTERFACE, a previous owner inserted to kind of condition the Midiinterface of Döpfer. Beside the normal spielbarkeit over a Midikeyboard still two additional control voltages are spent, which can steer arbitrary modules of the instrument. With the correct attitude and wiring one has even notice dynamics, etc.

1 NOISE, for wind, Snares and other noise-clung sounds is to be used this Noise module.

1 RING MODULATOR to use for disharmonische and metallic sounds. This ring modulator belonged however to the brachialen sort and provides for very distorted and bad sounds. A noble ring modulation A la Vermona RM-1 is not to be expected here; here gehts correctly to the thing.

2*4 MULTIPLE, this module serves for mixing and distributes from control voltages and also as adapters between the banana plugs of the instrument and the generally common jack plugs (6,3mm).

In addition an extensive assortment of the banana plugs belonging to this system is contained."

Update via Feinstrom in the comments:
"I am the former owner, sold it to him some years ago.
It is an OB-Xa voiceboard with jacks and some DIY. Not Oberheim-made, no prototype, built in the 90s or so. And the guy knows all that.
The sound is nice, though."

ANALOG SOVIET SYNTHESIZER. FORMANTA EMS-01

video upload by Alexander Obukhov

"Formanta EMS-01 is a historical artifact in the world of electronic music. This analog synthesizer, created in the Soviet Union, embodies the craftsmanship of engineers and sonic explorers of its time. It represents an amazing blend of creative possibilities and unique sonic heritage.

The EMS-01 possesses an unusual, sometimes unpredictable sonic character that has become the hallmark of this synthesizer. This platform, although crafted over half a century ago, still captivates musicians with its unique capabilities and sonic versatility.

EMS-01 is not just a musical instrument. It's a fragment of history captured in analog circuits and keys. Its sonic capabilities have no parallels in modern synthesizers, making it a collector's item for any music enthusiast or aficionado of electronic music."

Waldorf STVC - String Synthesizer & Vocoder w/ Original Box

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

via this auction

"Synth after short studio test/presentation. Perfect condition.

String synthesizer with a vocoder.

The string section starts with an oscillator bank using octave dividers, followed by a complex mixer, an equalizer and the ensemble effect, just like string machines from the 70's. A single registration knob sweeps through mixer and EQ settings for Violin, Viola, Cello, Brass, Organ, Choir and more for creating rich and creamy sonic textures.

The Solo section is a 16-voice synthesizer that complements the string sounds. A single Tone knob sweeps through many useful settings. Solo is the sidekick to the strings, but it is powerful enough to be the lead character every now and then.

The Vocoder replaces the equalizer in the string section with the filter bank that models the vocal tract from the speech input. This can produce quite intelligible speech or singing using the fully polyphonic oscillator bank. Formants can be modified, which can result in a perceived change of gender. Adjustable jitter of the string oscillators renders the voice hoarse, creaky or a complete whisper. Solo can pass through the Vocoder or play in parallel.

The Freeze button lets you freeze a short speech fragment, which is then repeated by the Vocoder whenever a key is pressed. Change of playback speed, like faster, backwards or a complete stop are possible and fun, as well as formant change.

A novel Tweak function allows for modification or modulation of details, like e.g. the solo cutoff frequency or the Chorus LFO rate. It is similar to a modulation matrix, but it also allows to alter implicit settings with a fixed value or an offset.

Three Effects operate simultaneously - Animate is in fact a modulation of the string or vocoder registration, while a Phaser ist a must for any decent string machine. A high quality Reverb with adjustable size can be mixed to the output.

STVC comes with a high quality gooseneck microphone that plugs right into the front panel where it belongs."

CLICK FOR MORE »

Richard Lainhart Releases A New Album on Ex Ovo

February 26, 2008 — Richard Lainhart, award-winning composer, performer, and filmmaker, is pleased to announce that Ex Ovo, founded in January 2006 for the love of dulcet drone music, has issued a release of his CD White Night. The disc is also available in the States from CDeMUSIC .

An excerpt from White Night can be found at www.aalfang.de.

________________________________________
Ex Ovo writes: Back in 1974, one year before Brian Eno's first landmark in ambient music, a young musician from New York wrote down a fragment of beauty's hidden story with the minimal vocabulary of sine waves on the young black skin of a Moog synthesizer. The first release on CD features Richard Lainhart's masterpiece in its original 29-minutes-version. There's no single second to add, after this time everything is told though nothing has been said.


________________________________________
Richard talks about the work's origin:
" "White Night" was composed and recorded in the late fall of 1974 at the State University of New York at Albany in the Coordinated Electronic Music Studio (CEMS). CEMS was created by my composition teacher Joel Chadabe with design and custom fabrication by Robert Moog and was, at the time, the largest integrated Moog modular synthesizer studio in the world.

"The piece consists of a dense, continuous four-note chord, each note in the chord recorded in a separate pass to one track on a Scully 4-track studio recorder. Each track consists of a single sine wave oscillator which is frequency modulated by a group of eight additional sine wave oscillators. Those oscillators are all tuned to different tones, each harmonically related to the fundamental chord tone. The amplitude of each harmonic oscillator is continuously varied under the control of an individual sequencer, and each sequencer is free-running - that is, the sequencers are not synchronized to each other, but rather running in their own independent timebases.The result is a continuously-changing complex harmonic waveform which modulates the frequency of the chord tone oscillator, generating a continuously-changing complex timbre based on the fundamental pitch of the note.

"The center tone of "White Night" is 212 Hz, slightly higher than the G below Middle C. The other notes create a chord consisting of a perfect fifth below the center tone, a major seventh just below the center tone, and a major second above the center tone. "White Night" was composed without reference to the standard A-440 tuning system, as we had no such pitch reference in the studio; I just picked a center tone that felt right, and went from there. As such, "White Night" lives in its own pitch world.

"The title "White Night" came about so: it was late December in upstate New York when I was finishing the piece, and a blizzard passed through town the night of the final mix. As I sat in the glow of the sequencers and tape decks in the University studio listening to the final version, I looked out the window and saw a security light on a building opposite the studio illuminating the blowing snow as it drifted off the roof. All I could see was the snow swirling in the light against the blackness; a moving painting continually drawn, erased, and redrawn, always changing, but always the same. It may sound bleak, but it wasn't - it was beautiful. It seemed to me that the image of the dancing whiteness perfectly matched the sound of the piece, and so I called it "White Night" to commemorate that evening of wind and snow."
________________________________________
Ex Ovo shows that ambient music is alive and well. I applaud their good work spreading the word -- and the music -- worldwide. — Richard

'2008 marks my 40th year as a musician.'"

Frank Zappa & George Duke at The Roxy Theatre - 1973

Frank Zappa at The Roxy Theatre - 1973 Video concert

Published on Sep 21, 2012

This one in via Brian Comnes. Rhodes jazz funk at 10:55 followed by ARP Odyssey at 12:42.

RIP George Duke - DreamWeaver

"Frank Zappa at The Roxy Theatre in Hollywood, California on December 8, 9 and 10, 1973.
While waiting for the "Roxy DVD" (a trailer is contained in the Baby Snakes DVD), this is what is available at now:

CLICK FOR MORE »

Details on the Waldorf STVC

You can find previous posts including demos here.

"String synthesizer with a vocoder.

The string section starts with an oscillator bank using octave dividers, followed by a complex mixer, an equalizer and the ensemble effect, just like string machines from the 70's. A single registration knob sweeps through mixer and EQ settings for Violin, Viola, Cello, Brass, Organ, Choir and more for creating rich and creamy sonic textures.

The Solo section is a 16-voice synthesizer that complements the string sounds. A single Tone knob sweeps through many useful settings. Solo is the sidekick to the strings, but it is powerful enough to be the lead character every now and then.

The Vocoder replaces the equalizer in the string section with the filter bank that models the vocal tract from the speech input. This can produce quite intelligible speech or singing using the fully polyphonic oscillator bank. Formants can be modified, which can result in a perceived change of gender. Adjustable jitter of the string oscillators renders the voice hoarse, creaky or a complete whisper. Solo can pass through the Vocoder or play in parallel.

The Freeze button lets you freeze a short speech fragment, which is then repeated by the Vocoder whenever a key is pressed. Change of playback speed, like faster, backwards or a complete stop are possible and fun, as well as formant change.

A novel Tweak function allows for modification or modulation of details, like e.g. the solo cutoff frequency or the Chorus LFO rate. It is similar to a modulation matrix, but it also allows to alter implicit settings with a fixed value or an offset.

Three Effects operate simultaneously - Animate is in fact a modulation of the string or vocoder registration, while a Phaser ist a must for any decent string machine. A high quality Reverb with adjustable size can be mixed to the output.

STVC comes with a high quality gooseneck microphone that plugs right into the front panel where it belongs.

Specifications

Hardware:

Full metal case
Keyboard with 49 keys, aftertouch and velocity
Keyboard transpose +/- 24 semitones via dedicated switch
Pitch bend and Modulation Wheel
128x64 pixel OLED
10 potentiometers, 1 encoder, 9 backlit buttons, 5 switches
44 cm gooseneck microphone with indicator LED

ConnectionsConnections:

MIDI in/out
USB/Power
6.3 mm Sustain Pedal input
6.3 mm Expression/Ext. signal
3.5 mm Headphone out
6.3 mm Line out Left/Stereo
6.3 mm Line out Right/Mono
XLR Microphone jack on front panel

Sound engine:

Fully polyphonic String section
Continuous morphing of String Registration
16 Voice polyphonic Solo section
Continuous morphing of Solo sounds
Tremolo for Solo
126 programmable patches in three banks
Tweak for modulation and specific adjustments

STVC UIVocoder:

250 Filter bands
Excellent intelligibility
Formant modification
Freeze mode
Fully polyphonic carrier
Optional jitter for string carrier
Continuous morphing of Registration

Effects:

Animate Effect for modulation of Registration
Ensemble/Chorus Effect for Strings and Vocoder
Phaser Effect for Strings and Vocoder
Reverb Effect
All Effects available simultaneously


All information are subject to change"

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Introducing the Woovebox micro music workstation; pocket groovebox, synth, sequencer, sampler

video upload by Woovebox

"Discover the Woovebox; the smallest all-in-one micro music workstation on the planet."

via Woovebox

"The Woovebox is a workstation/ groovebox that does more with less. It aims to make music production simpler, cheaper and more portable by condensing a powerful music workstation/studio into a small pocket-sized device - all through aggressive hardware and software optimization. Pocketable, powerful and economical

The Woovebox was designed for those who love creating tunes away from a desk or studio; whether it's on a couch, on a bus, in a coffee shop, or in bed. No space, no hassle, no cables. Just plug in your headphones and go! And when you are ready, the Woovebox plays nice with DAW and other gear; physical MIDI and sync out, wireless MIDI in/out over Bluetooth, audio in, .WAV song and dry/wet stem export - it's all here. Featuring a variety of synthesis algorithms, filters and effects, the optimized engine - quite literally - punches far above its weight; despite weighing only 68g/2.4oz/0.15lbs, the Woovebox offers deep sound design, real-time synthesis, sonic abilities and advanced features that are absent from grooveboxes many times its size and cost.

A fast workflow that inspires

The Woovebox workflow is a rethink of song building; it is fast, it fits a compact device, and it avoids "empty DAW project" paralysis. It was built to reduce friction and make the time from 0-to-head-bobbing to your own track as short as possible. You do not have to memorize endless obscure button combinations, and menu-diving is kept to a minimum.

The workflow centers on quickly setting up and filling out distinct building blocks, where each block quickly combines to create a whole that is more than the sum of its parts. Tempo, rhythm and chord info is re-used throughout the song, interface, playback options and even the synthesis engine. This is combined with conditional triggering and conditional modification of elements and tracks. The results are complex, intricate compositions that sound refined, intentional and planned. If you wish, even just a single 16-step pattern for each of the 16 tracks, is entirely enough to make a complex song that keeps the listener's attention.

Built from scratch using close-to-the-metal programming

In hardware engineering, size restrictions mean power limitations. And power limitations mean DSP (Digital Signal Processing) limitations. Starting off as a personal challenge during the days of lockdowns by a veteran signal processing engineer, the Woovebox' DSP engine was built from scratch to be as "close to the metal" and optimized as possible.

It is a style of programming that focuses on extracting every last drop of raw performance from the hardware, at the cost of easy development. The hardware, firmware and DSP code were hand-crafted in assembly and optimized over the course of three years, to perfectly balance frugality with power, audio quality and features. As a result, your Woovebox synthesizes full, complex tracks and effects in real-time, yet the small built-in battery still lasts 10h+ on one charge. In all aspects the Woovebox project embodies doing more with less."

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BOSS SY-1 Synthesizer Pedal by @ericdifool

Published on Jun 3, 2020 Eric Difool

"Boss SY-1 demo!!! I have composed this little fragment to test in depth this amazing pedal. All the sound are from the SY-1, except the drums by GGD. Only compression, delay and reverb have been added to the synthesizers. I hope you enjoy it!!!"

Polyend Seq & Poly Midi And Eurorack Sequencer System

Published on Apr 17, 2019 Perfect Circuit

"Polyend's Seq is an 8 track 32 step sequencer where you can see all of the steps at once for quick editing. When connected to the Poly module you can convert the Seq's 8 channels of midi into CV controls for your eurorack modular synthesizer. Each track of the sequencer has independent clock division and direction controls. There are other options like rolls and micro timing as well.

The drums in this video come from the Endorphin.es Blck_Noir with some synthesis voices from the Noise Engineering Manis Iteritas and Erica Synths Pico Voice. Everything is mixed together with Warm Star's Fragment utility module."

https://www.perfectcircuit.com/polyend

---
Supporters of MATRIXSYNTH get %10 off at Perfect Circuit!

New MIDIMini Demos by Studio Electronics

Chords, Rings, and Feedback Wars video by StudioElectronics

"It’s all about the gain staging in this discrete beast: processing and managing the relative levels in each step of the V’s audio signal flow to allow for the introduction of desired noise and distortion. Clean is easy.

Feedback (loop), FBK (feedback) Gain, Amp Drive, individual Oscillator levels, and the main Volume all interact and alter one cherished fact after another; the 24dB ladder to heaven is also… everything, except for the burnished bookends, the dualistic dynamism of synthesizer tone: Ringmod and Crossmod. Fans of our ATC know this verity well–enjoy in somewhat better fidelity on our SoundCloud page.

Spoiler Alert! it really starts to get layered and multi dimensional and very satisfying, at around 7:27​. Now go back and listen to the whole thing from the beginning.

Treatment:
Just a touch of compression from our vintage dbx 163X during tracking, into the my marvelous DP10 (will never switch), and a spot of verb in the last few seconds—the balance is pristine and massive Midimini V30."

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Need For Storms

Published on Nov 26, 2017 Need For Storms

This one in via Soviet Space Child.

Playlist:
1. Clast - Need For Storms

clast (klæst) n. Rock fragment or mineral grain produced by the breakdown of larger rocks. Eroded and smoothed when transported by waves, clasts may form new rocks through cementation and compaction.

Music performed live on a briefcase Eurorack synthesizer.

Video by Mika McKinnon. Footage taken in Long Beach, BC, Canada.

2. NFS - Modular Experiment #4 (Morphagene, Telharmonic, Clouds)

3. NFS - Modular Patch Experiment #3 (Morphagene, Telharmonic, Clouds)

Patch experiment layering the Telharmonic under the Morphagene running this reel by Rheyne Music

Clouds for reverb. Tape saturation in Logic Pro X.

4. NFS - Modular Patch Experiment #2 (Mother-32, Maths, Logic Pro X)

Noisy, bass-heavy patch experiment using two Moog Mother-32s and a Make Noise Maths. FX from Logic Pro X.

5. NFS - Modular Patch Experiment #1 (Mother-32, Maths, MS-70CDR)

Patch experiment using two Moog Mother-32s and a Make Noise Maths. FX from a Zoom MS-70CDR pedal. Recorded in Logic Pro X.