"Tela orchestrates a vast array of resonant peaks, intertwined to form a critical mass of sound. It models nothing – it's a synthesizer for the here and now, to discover and create anew.
In a careful balance of depth and immediacy, Tela explores the inherent character and capabilities of modal synthesis. Like a practical joke, Tela bends a myriad of partials into perfect symmetrical waveforms only for them to dissolve into otherworldly timbres and textures mere seconds later. There are no rules.
Modal synthesis
Imagine hitting a thin piece of metal, a piece of glass or the membrane of a drum– the material vibrates and rings out with its inherent timbre, affected by the motion of the impact and the strength of the hit. This is the basis of what modal synthesis recreates.
"This video demonstrates the final version of a 4-bit Linear PCM synthesizer that I have designed and built over about two months. It makes use of mostly Soviet clones of 7400 and 74LS series TTL chips, with no microcontrollers involved. It has a 256 x 4 SRAM chip that allows the user to program whatever waveforms may be desired, with looping capability, and starting at whatever point desired. Most importantly, it is able to be controlled by an external source, for example a keyboard instrument. It also has a frequency doubler circuit. This video is part 2 of 2, showing the finished product.
If you want to skip right to the sounds, go to 27:08"
"Introducing dåpf, the first dedicated effects processor in the Instruō product line. The Instruō dåpf is a set of two analogue all-pass filters.
You might be asking yourself, “What is the point of a filter that passes everything?” All-pass filters don’t actually attenuate frequency amplitudes directly, but rather alter the phase relationship of frequencies across the spectrum. All-pass filter stages appear in the vast majority of voltage-controlled filter topologies as well as serving as a core building block within DSP.
The normalled I/O of dåpf allows for cascaded or independent use of the two all-pass filter circuits, offering everything from classic phase-shifting to psychoacoustic stereo enhancement and synthetic Doppler effect.
• Two parallel all-pass filters • Independent attenuverters for voltage control • 1-Pole/2-Pole configuration for left channel • Cascaded normalisation • Global 1 volt per octave tracking"
"This video is long... But the second half is very much optional expansion and deep dive into some theory of all-pass filters. The first few examples are much quicker, more practical examples of dåpf patched. Thanks for watching :)" ~Jason ---
00:00:00 Instruōduction 00:03:24 Overview | Stereo Enhancement 00:04:19 Stereo Enhancement - Subtractive patch sound source 00:04:55 Stereo Enhancement - Traditional stereo panning 00:06:13 Stereo Enhancement - Spectrally transparent waveshaping 00:07:22 Stereo Enhancement - dåpf inputs/outputs 00:09:42 Stereo Enhancement - Controls and CV inputs 00:10:14 Stereo Enhancement - 6dB/12dB pole switch 00:11:18 Stereo Enhancement - Mono to Stereo patching 00:15:41 Stereo Enhancement - Static phase shift 00:17:32 Stereo Enhancement - Level 1: modulation 00:19:40 Stereo Enhancement - Level 2: modulation + waveshaping 00:25:02 Stereo Enhancement - Level 3: modulation + timbre 00:27:50 Vibrato Everything 00:28:17 Vibrato Everything - What is vibrato? 00:29:35 Vibrato Everything - Non-FM vibrato 00:30:22 Vibrato Everything - (tangent: sine phase) 00:31:34 Vibrato Everything - (tangent: sine spatialisation) 00:32:37 Vibrato Everything - Non-FM vibrato (sine wave) 00:34:11 Vibrato Everything - Non-FM vibrato (sawtooth wave) 00:38:42 Vibrato Everything - Non-FM vibrato (complex audio) 00:40:46 Vibrato Everything - Non-FM... FM? ...PM! (Phase Modulation) 00:43:47 Feedback Processing |"Doppler" 00:44:33 Feedback Processing |"Doppler" - Lúbadh feedback patch 00:46:38 Feedback Processing |"Doppler" - Doppler shift description 00:48:08 Feedback Processing |"Doppler" - Doppler dåpf 1pole/2-pole 00:49:20 Feedback Processing |"Doppler" - Doppler dåpf 3-pole/-4pole 00:51:28 Feedback Processing |"Doppler" - Doppler dåpf in stereo! 00:52:02 Feedback Processing |"Doppler" - Delay feedback 00:54:54 Feedback Processing |"Doppler" - Audio rate modulation 00:56:32 Building a phaser - Deep dive into all-pass filters 00:58:44 Building a phaser - Phase shift of a fundamental 00:59:41 Building a phaser - Quadrature: sine | cosine 01:00:43 Building a phaser - Drawing perfect circles 01:01:41 Building a phaser - Drawing (non-)perfect circles 01:02:16 Building a phaser - Frequency dependent phase shift 01:04:22 Building a phaser - 1V/octave tracking 01:07:40 Building a phaser - More than one sine wave 01:08:58 Building a phaser - The harmonic overtone series 01:10:19 Building a phaser - Sawtooth wave low-pass filtered (reference) 01:11:15 Building a phaser - Phase shifting harmonic overtones 01:15:42 Building a phaser - Inside a phaser 01:18:00 Building a phaser - Stereo Phaser 01:22:19 Building a phaser - uPhaser Befaco FXBoy 01:23:46 Building filters - Any-pass filter? 01:25:05 Building filters - RC low-pass filter 01:26:03 Building filters - Spectral cancellation principles 01:28:35 Building filters - APF to LPF 01:30:10 Building filters - APF to HPF 01:32:03 Building filters - Parallel dual all-pass filters 01:37:41 Building filters - Resonant filters"
And a video from Divkid:
Wow! I didn't know All Pass Filters could do this // 3 Patches with dapf from Instruo
video upload by DivKid
"I'm always striving to learn and explore with sound and music and dapf (the new Eurorack module from Instruo) certainly brought a big slap of school day into DivKid HQ. I was aware of all pass filters, getting past the funny idea that "all" frequencies pass (so what's the point?) and knowing they were use for phase shifts. What I didn't know is how core and important to filter topologies they were and how creatively useful they could be.
Some exploring later and here we are, with 3 patches that really show the power of phase manipulation. While dapf makes a fantastically chewy phaser FX unit I didn't expect it would be such a great stereo expander for a single VCO nor did I know I could be MUSICAL and totally analogue 3 operator FM/PM (like the digital Yamaha DX and Casio CZ phase/FM methods) synth."
"What's up everybody? Welcome to Midiverse - TV! We've been hard at work on a new eurorack module collaboration project with our friend Cory Kiser, we're excited to announce the module is now available. Check it out!"
"Sidebander is a Eurorack module that employs additive synthesis to create FM synthesis sounds.
FM synthesis, known for its complexity, is made more accessible and performance-friendly with Sidebander.
The inspiration for Sidebander originated from the "tone clusters" famously utilized by Penderecki, which its developer discovered through the collaborative works of Radiohead's guitarist, Johnny Greenwood, with Penderecki. The developer of Sidebander eventually recognized a fascinating link between these tone clusters and FM synthesis.
Intriguingly, FM synthesis naturally produces sidebands that deviate from a carrier wave's fundamental frequency, mirroring the concept of equally spaced tone clusters in an unexpected way. Furthermore, when these sidebands are exceptionally close to the fundamental frequency, they create effects akin to unison or chorusing.
Sidebander offers a novel approach to exploring sonic landscapes, enabling users to extract pure waveforms, unison effects, FM-like sounds, and tone clusters, all within a single, versatile module.
Original concept and firmware developed by: Cory Kiser"
"When I made the popular YouTube series 'FM Catalogue of Materials', many viewers commented that they would love to see some more of the 'music tech as cinema' style created in the videos.
My new project 'Luminous Trilogy' release, does exactly that. In part 1 'WTD', synths and synth technical diagrams, together with Pure Data/Max patches, become casual parts of the film's environment, which is set in an alt near future. Part 1 was realised with analogue modular, whereas Part 2 "Breath" was scored using binaural audio, VCV rack and live Indian tablas. Part 3 'Contrails' uses physical models, Samplicity's Berlin Studios and vintage FM hardware."
Update: Element433 has made the VCV patch and assets used in the film "Breath" below a free download. You can find instructions on downloading the patch and setting it up here: http://tinyurl.com/e433WpBrvcv.
"Three music shorts around the theme of light, from incandescent urban folklore set in the near future, electric neon glowing medussae to impossible skies, all to the sound of dark ambient and techno-world music"
Playlist:
Walking The Dulzaina - Luminous Trilogy - Part 1
Walking The Dulzaina is an edited one-shot music film which details the manic walkthrough time-lapse of an imaginary synthesised dulzaina (Spanish folkloric instrument) being taken for a walk through the "Las Vegas" like dressed streets of a small village festive celebration set somewhere in the near future.
The visuals are nods to the Bladerunner, Lynch, Weirdcore and Kubrick where the glow of transparent neon CRTs, display technical diagrams with a music technology theme. Some suddenly slide up from the ground, while others cross from one side of the street to another.
The music is inspired by minimalism, industrial techno synth-folk where Steve Reich and Techno meet Raymond Scott and 1960's BBC radiophonic.
Musical Equipment Detail:
Intro: Moog Subharmonicon through Fairfield Randy's Revenge ring modular - into two crunchy Elby Systems stereo valve preamps and out into a stereo pair of Doepfer A-199 spring tanks).
Dulzainas: Buchla Easel Command sometimes untreated and sometimes solo through a J.H. 'Son of a Storm Tide' stereo analogue studio flanger (built by Van Daal Electronics (second dulzainas and very low transition whoooses).
Buchla and Subharmonicon sync locked and clock divided by Ornaments and Crime clock divider.
Final wormhole sequence: Subharmonicon through stereo A-199 Doepfer spring reverbs and Paulstretched.
This work is not sponsored by any the manufacturers mentioned. They are personally purchased pieces of equipment.
"KLIMA is the first of many upcoming experiments that welcomes in the surrounding atmosphere as a fundamental building block for your modular patches. Inspired by traditional logic modules and built around an atmospheric sensor, Klima is a 4HP module that derives random gates by comparing your analog signals to the ambient temperature, humidity, atmospheric pressure and relative altitude.
How it works: the module takes an incoming signal up to ±5V and passes it through a comparator whose threshold is set by the density potentiometer. This parameter sets the probability that you’ll get a logic high (+5V) at the first output . In addition to giving a relatively predictable output related to the original input, the comparator signal is then compared to four independent binary signals to produce corresponding gates when a logic-AND occurs – that is, when both signals are high at the same time. The frequencies of these signals are determined by the atmospheric values from the sensor and are reset when a high gate is detected at the reset input, giving you a bit more control over the random gates that Kilma produces.
What all this ultimately means, is that as the surrounding environmental conditions change, so does the frequency of each of these binary signals and, therefore, the probability of a high gate output. In other words, the same patch will take on different characteristics depending on where you find yourself.
Klima is great for producing organically flavored randomness and is especially fruitful when it comes to producing polyrhythms and textures. In addition to offering a useful function standard to modular systems, Klima encourages you to pack up a travel rig and hit the road."
"Today I'll be showing you the new Real World Interface by Verbos Electronics.
This is sort of the first contact with the module, trying all the things I thought i could do and listening to different stuff processed throught it.
It's a very interesting and deep module, and there's so many ways to use it that I'll do a second video with a few more patch ideas soon.
Have fun!"
00:00 Intro
01:11 Fast forward unboxing & first patches
02:41 Module Overview
04:23 Patching a compressor
06:04 Pre-amp & saturation test
08:22 Drum machine driven patches
14:17 A.G.C, Fundamental & Locked VCO outputs
17:54 Stereo pre-amplification & enveloppe follower
22:38 End talk
The Real World Interface is a 3 channel external processing module intended for connecting with sound sources outside the system. The channels are oriented as vertical channel strips. The left and right channels have a built-in condenser microphone, preamp, envelope follower with variable decay and gate extractor. In addition to a preamp, envelope follower and gate extractor, the center channel also has an Automatic Gain Control (fixed high ratio compressor), fundamental extractor (tracking lowpass filter), frequency detector and locked oscillator. Internal microphones are useful for introducing electro acoustic room sound into the modular. Envelope followers can be used to have external signal levels effect parameters such as filter cutoff or level for building dynamics processors. Gate extraction allows external sounds such as metronomes, clicks, claps or room sounds to advance sequencers, trigger sounds or initiate other events. The Frequency Detector can extract the pitch of simple monophonic sounds but is also a semi chaotic CV source in the tradition of such modules since their introduction in the 1960’s. The Locked Oscillator plays a sine wave at the same pitch as the input signal.
Playlist: (you can use the player controls to skip around)
1. Synthfest UK 23: Sequential - Trigon 6 Desktop
At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.
At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.
Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's
"Patch Notes: this is a polyphonic Triphase patch. Both Triphases are set up to emphasize the first harmonic, by blending the top two phases at around +-90deg. Two phases of the quad LFO and phase expander modulate the first phase of each Triphase. A little bit of the third phase is blended negatively which helps to ensure we don’t entirely remove the fundamental. These are going through a stereo low pass filter (MMM), which is following the notes in an interesting way. After buffering the volt per octave for each Triphase, It’s sent into Babel to get the maximum. This is then sent through an Inertia with a slow rise time and a bit of rise momentum, so the slew is limited and you get interesting filter sweeps that get more dramatic the bigger a jump you make with the notes. Lastly, the two modulated Triphase outputs are mixed together and sent into a second Inertia configured as a filter with a good bit of resonance and some skew on the frequency to make the resonances saw-like and give it that characteristic distorted feel. This is drenched in reverb and buried way back in the mix.
Triphase and the other modules are available on https://nsinstruments.com/
#eurorack #ambient #ambientmusic #dronemusic #modular #modularsynth"
"The Spectraphon combines a spectral processor with a complex VCO. While it may look huge (34 HP)) it's still a lot smaller than a combined Buchla 259 and 296. A spectral processor is a bit like a parametric EQ with CV control, where you can slide through/focus on frequency bands. SP will analyze incoming sound, classify the harmonic content (the spectrum) and adds it to its own fundamental sine. The process of resynthesis is like impressionism in paintings, creating loose and inaccurate brush strokes of the original sound. So it's NOT a sampler and it doesn't capture audio. It listens to incoming audio, and paints its own picture. The process is called Spectral Amplitude Modulation (changing the volume of individual 'colors' with CV) aka SAM. Hello, SAM!
These spectra can also be saved for later use. But it doesn't stop there. First, SP offers two independent spectral processors A & B, which can interact with an FM bus. Side B can also sync with/follow side A.
So you can process two sounds and then mangle them into beautiful new textures. You can also use the saved spectra (16 arrays containing up to 1024 spectra) in Spectral Array Oscillation mode (SAO) and use it as a dual complex spectral VCO. But it doesn't stop there either. It also offers two multi-functional outputs that work as envelope followers in SAM, and sub-oscillators in SAO. They also double as stepped/smooth random CV and a triangle LFO. Then, the journey begins. So yes, you will be influenced. Spectraphon is a Jedi mind trick. This is the droid you're looking for.
All music in this video is created with Spectraphon as the final audio source. Some parts are produced and multitracked in the DAW. I'll use a 'live' indicator when the patch is 'raw' and recorded as is.
00:00 A Spark of Inspiration
02:06 Introducing the Spectraphon
04:03 What are Spectra?
07:20 Spectral Amplitude Modulation - SAM
08:33 Harvesting for Spectraphon
11:26 Partials
13:52 Spectral Array Oscillator - SAO
19:59 Patch Ideas"
"Tatsuya Takahashi (Tats) continues to innovate from his labs at Korg Berlin, he revealed their latest innovation - acoustic synthesis. Tats explained that Korg Berlin has developed metal resonators that are designed to contain frequencies that are pleasing to the ear. The resonators move in complex ways when stimulated, with the fundamental frequency creating a sense of pitch. Korg Berlin uses an electromagnetic system to move the resonators, similar to the hammer in a piano. The company then uses capacitive pickups to capture the movement and feed it into a feedback control system, allowing them to manipulate and sustain specific overtones and frequencies. Korg Berlin showcased an early prototype of the technology, which they called the acoustic"
"Walker at Make Noise unveiled their new Spectrophon, a digital dual spectral oscillator coded by Tom Erb of SoundHack at Superbooth 2023. The Spectrophon is a dual oscillator laid out with two almost identical sides, A and B. Unlike the analog waveform outs, the even and odd harmonic outputs generate harmonics at the fundamental frequency that is set with the frequency knob and dependent on which mode they're in. The Spectrophone also features two modes, SAM or spectral amplitude modulation mode, and SAO or spectral array oscillation mode. The former listens to the input, patch a signal into it, and generates a harmonic spectrum at the output based on what it hears. Meanwhile, the latter holds arrays of spectra in memory that can be modulated.
In addition to the Spectrophon , Make Noise also announced a new version of their 7U CV bus case with a brand new four-zone bus board inside. This board is significantly more powerful than the previous bus board and has four different isolated zones, making it ideal for power-hungry modules that are susceptible to noise. The CV bus has been updated to have a voltage math circuit similar to the one from the ZeroCoast. This simple circuit has offset, summing, and attenuation features for whatever one may need in their system. The new version of the CV bus case will be available for purchase at the end of this summer.
The Spectrophon will be available for purchase at $599 and will ship at the end of May.
"The MF-107 FreqBox is different from other effects – the effected sound is not a processed version of your input signal, but the sound of the input signal modulating an internal oscillator. It contains a VCO with continuously variable waveshape, and the capacity to modulate that Oscillator in the following ways:
- the VCO can be hard synced by the input signal
- The VCO can be frequency modulated (FM) by the input signal
- The VCO frequency can be modulated by an envelope follower which tracks the dynamics of the input signal
- The Amplitude of the VCO also tracks the dynamics of the input signal
Hard sync is a classic analog synthesis technique where the start of an oscillator’s cycle can be reset by another. The oscillator being synced takes on the frequency characteristics of the other oscillator, and when its frequency is swept, it reinforces the harmonics of the fundamental frequency. In the case of the FreqBox, the input signal is used to reset the FreqBox’s VCO.
FM is a technique used to get really rich sounds from simple waveforms. The type of FM used in the FreqBox is linear FM. Sounds range from gong or bell-like tones to sizzly sweeps.
The FreqBox, like all moogerfoogers, works with any instrument to line-level input. In addition to the panel controls there are control inputs for use with expression pedals or control voltages and control outputs for interconnecting moogerfoogers like you would a modular synth.
The FreqBox can provide some really unusual processing to all types of signals – guitars, synths, drum sounds, vocals or wind instruments allowing you to enter previously unexplored sonic territory."
"The LMN-3 is an open-source synth/sampler/sequencer/DAW-in-a-box. You can find the collection of all LMN-3 repositories here: https://github.com/FundamentalFrequency
"This is a DIY project based off of FundamentalFrequency. It is similar to the Teenage Engineering OP-1.
An overview of the project can be seen here: [video above]
This was built by myself using a Raspberry Pi 4, 4GB w/64GB uSD card. It features the Tracktion Engine for its main software. All keys, encoders, etc. work and are housed in a custom 3D printed and laser cut acrylic case. Made some custom laser printed labels of which the "stop" key is rubbing off. I also compiled a custom version of the software where I added a Shutdown option to the settings menu which issues a proper shutdown command to the Raspberry Pi (avoids data loss and uSD card corruption). Also created custom Python scrips to save and load sessions. Also added on-screen keyboard to use with naming and loading the sessions. Works great with the touchscreen.
Some things this can do: Tracks Screen Plugins Screen Drum Sampler Step Sequencer Drum Programming Sampler Bass Sequencing Clip Cut/Paste 4OSC Synth Adding Effects Recording Editing, Loop Controls, Saving, and Track Addition/Deletion Mixer Overview Pitch Bend Modifiers
List of hardware included: Raspberry Pi 4, 4GB 64 GB microSD card 45 keyboard keys (serving has synth/MIDI keyboard), controlled via a Teensy microcontroller Hyperpixel 4 touchscreen (4") Power supply
This thing works great and is really cool to create music with. Comes loaded with a bunch of samples and instruments."
"Hello everyone
Today we will be making stereo patches with Osi-Op. There are actually many ways to do this. We will now look at ways we can do it with just oscillators.
First of all, the 1st oscillator will be staying in the middle and playing the lowest frequency sound. The 2nd oscillator is panned to the left channel and the 3rd oscillator to the right channel. If we specify the amount of pan, we can say that 75% left and right panned. Apart from the random differences of the oscillators, we can say that changing the Waveshape Output with PWM settings and sometimes giving the opposite movement as a mirror of a movement to two opposite channels creates a very nice stereo image. While doing all these with basic waveforms, I also tried to create small differences between the right and left channels from time to time with Thru Zero FM. Now let's hear the results together.
with stereo phase modulation, pitch-relative unison, dynamic bipolar feedback, cross-modulation, and polyphonic note slide.
Up to 16 voices of polyphony.
Power of 2 Glänta puts focus on the fundamentals of FM synthesis with a 2-Operator structure that lets you sculpt a myriad of sounds with ease, this is FM done right to its very core, with extended functionality that expands the repertoire of 2-OP algorithms.
Dynamic Each FM oscillator in Glänta has dynamic self-modulation, a type of feedback that is bipolar and frequency-compensated. This allows even a single oscillator to achieve saw- and square-like waveshapes that are consistent and alias-free across the whole pitch range.
Envelopes made for FM The modulator envelope in Glänta is made with FM in mind. By extending the standard ADSR envelope with adjustable start- and end-levels, the FM envelope is streamlined for getting the timbral modulation just right. With a logarithmic attack and exponential decay, the modulation and dynamics sound natural and snappy.
Stereo Modulation & Unison The stereo mode puts the modulation itself in a phase-shifted stereo alignment which widens the sidebands, creating an FM-based stereo effect. On top of this the pitch-relative unison mode adds two oscillators, one above and one below the fundamental for anything from slight chorusing to harmonic layering.
Osi-Op : Using Through Zero FM Synthesis and VCA : Vaemi (Eurorack)
"Osi-OP, which we regard as an analog reflection of the new era of digital electronic music, is an analog and voltage-controlled oscillator module. It was designed in Eurorack format and it has a width of 14hp. The fact that it has Thru Zero FM Input and a Waveshape Output, which can be used for morphing, are two of the most important features of this product. From a first impression, it may look like an oscillator that is appropriate for subtractive synthesis; however, we actually designed it to be used for additive synthesis. Thanks to Thru Zero FM, this oscillator can regard oscillators with Sine Wave as analog operators. You can even prepare your synthesizer patch without using the classic subtractive resonant filter. The most important aspect of Thru Zero FM is that there is no tune drift when you increase the modulation rate. For this reason, Thru Zero attenuator (TZ FM potentiometer) can almost be used like a filter itself. the frequency of the second oscillator acting as FM (operator) according to the frequency of the 1st oscillator giving the fundamental frequency; must be set in harmonic degrees of the fundamental frequency. But at these settings the tonality can remain in and be musical. In addition to Square, Saw, Triangle, and Square Sub oscillator outputs, it has a Sine Wave Output, which was designed with JFET transistors and has a very low distortion rate, and a Waveshape Output, which was designed with Sine-Triangle and can be used for morphing. It also has a Wave Shape Input. It is connected to this input via the Triangle Wave circuit board inside. Sine Wave is fixed on Wave Shape but you can forward it to the other WS Input by patching other waveforms, and you can morph between two waveforms. The pulse width of the Square Wave can be adjusted. The same knob is the morphing knob of the Waveshape Output. Since the oscillator has tempco, there is a 1V/OCT calibrated CV Input that is sensitive to heat. It can perfectly stay in tune up to 3.5 octaves. In addition, for FM, there are two separate CV Inputs, Exponential and Thru Zero. While Exponential FM CV Input can take all types of DC and AC voltages, Thru Zero FM CV Input can only be used for AC audio rate signals. Also, when you enter a waveform on Thru Zero FM CV Input, oscillators are soft-synced automatically. With 1V/OCT CV Input, you can adjust the frequency of the oscillator; and with Exponential FM CV Input, you can easily add an LFO or Envelope Generator. Square Wave Sub OSC Output, which is completely synced with fundamental frequency and can give an octave lower than the fundamental, will help you a lot to create strong modern synth-bass sounds. It is made with NOS IC. When the oscillator is FM modulated, the Sub OSC never gets negatively affected by this modulation; and it can maintain giving the frequency clearly. You can also switch the oscillator to the LFO mode. You can create subtractive syntheses by using two or more of these oscillators or by mixing these waveforms. The main reason for us to design this oscillator is, as its name shows, to enable the creation of complex FM patches and sounds by using 2-3 or more of these oscillators, just like Operator FM. While Thru Zero FM increases the modulation, it can maintain giving the same frequency without losing the adjusted frequency; and you can add harmonics to the sound musically. The module has 5 knob controls, 4 CV Inputs, an input for Waveshaper, and 6 ±5V waveform outputs. Osi-OP, which is handmade and produced with the help of Through Hole technology, is a product consisting of electronic components that is carefully tested."
Osi-OP, which we regard as an analog reflection of the new era of digital electronic music, is an high quality analog and voltage-controlled oscillator module. It was designed in Eurorack format and it has a width of 14hp. The fact that it has Thru Zero FM Input and a Waveshape Output, which can be used for morphing, are two of the most important features of this product. From a first impression, it may look like an oscillator that is appropriate for subtractive synthesis; however, we actually designed it to be used for additive synthesis. Thanks to Thru Zero FM, this oscillator can regard oscillators with Sine Wave as analog operators. You can even prepare your synthesizer patch without using the classic subtractive resonant filter. The most important aspect of Thru Zero FM is that there is no tune drift when you increase the modulation rate. For this reason, Thru Zero attenuator (TZ FM potentiometer) can almost be used like a filter itself. the frequency of the second oscillator acting as FM (operator) according to the frequency of the 1st oscillator giving the fundamental frequency; must be set in harmonic degrees of the fundamental frequency. But at these settings the tonality can remain in and be musical. In addition to Square, Saw, Triangle, and Square Sub oscillator outputs, it has a Sine Wave Output, which was designed with JFET transistors and has a very low distortion rate, and a Waveshape Output, which was designed with Sine-Triangle and can be used for morphing. It also has a Wave Shape Input. It is connected to this input via the Triangle Wave circuit board inside. Sine Wave is fixed on Wave Shape but you can forward it to the other WS Input by patching other waveforms, and you can morph between two waveforms. The pulse width of the Square Wave can be adjusted. The same knob is the morphing knob of the Waveshape Output. Since the oscillator has tempco, there is a 1V/OCT calibrated CV Input that is sensitive to heat. It can perfectly stay in tune up to 3.5 octaves. In addition, for FM, there are two separate CV Inputs, Exponential and Thru Zero. While Exponential FM CV Input can take all types of DC and AC voltages, Thru Zero FM CV Input can only be used for AC audio rate signals. Also, when you enter a waveform on Thru Zero FM CV Input, oscillators are soft-synced automatically. With 1V/OCT CV Input, you can adjust the frequency of the oscillator; and with Exponential FM CV Input, you can easily add an LFO or Envelope Generator. Square Wave Sub OSC Output, which is completely synced with fundamental frequency and can give an octave lower than the fundamental, will help you a lot to create strong modern synth-bass sounds. It is made with NOS IC. When the oscillator is FM modulated, the Sub OSC never gets negatively affected by this modulation; and it can maintain giving the frequency clearly. You can also switch the oscillator to the LFO mode. You can create subtractive syntheses by using two or more of these oscillators or by mixing these waveforms. The main reason for us to design this oscillator is, as its name shows, to enable the creation of complex FM patches and sounds by using 2-3 or more of these oscillators, just like Operator FM. While Thru Zero FM increases the modulation, it can maintain giving the same frequency without losing the adjusted frequency; and you can add harmonics to the sound musically. The module has 5 knob controls, 4 CV Inputs, an input for Waveshaper, and 6 ±5V waveform outputs. Osi-OP, which is handmade and produced with the help of Through Hole technology, is a product consisting of electronic components that is carefully tested..
