Vaemi : Osi-Op Through Zero (TZ) FM Sounds by Tunç Çakır

video upload by Vaemi

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."

Vaemi Osi-Op Oscillator Eurorack Module

via Vaemi

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..

Logan BIG BAND SN 533 // Only around 1000 units produced until 1982

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

via this auction

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Prophet Rev2 Soundset VCM ++ Volume 2 Patches

video upload by Creative Spiral

Patch list below.

"VCM ++ Volume 2 is here! This sound set takes advantage of the latest O.S. update for Prophet Rev2, with tons of new Vintage Voice Modeling Sounds, Binaural Stereo Stacks and Advanced Motion Patches. Available on Sellfy here:

VINTAGE VOICE COMPONENT MODELING (VCM)
A few years back I did a bunch of research and analysis on vintage synths from the 1970s through 2000s, to understand what gives classic/vintage synths their lush character and organic warmth. I published info on my findings at http://www.VoiceComponentModeling.com, and released a patch bank for the Prophet Rev 2 (as well as other soundsets for other synths in the past few years). This new soundset (VCM ++ Volume 2) is the latest release, harnessing the techniques I've been working on the past few years.

LATEST O.S. for PROPHET REV2
This sound set takes advantage of the latest Prophet Rev2 firmware released a few months ago, which fixed some issues with the Gated Sequencer Key Stepping, along with several other minor bugs. This O.S. (1.1.5.9.9) is the latest stable release, and highly recommended for usage with these patches. They would technically work with previous O.S. versions, but not sound as good. Go get the latest O.S. for free on the official Sequential Rev2 forum. Note: It's technically a beta, but with Seq, their Betas are the same as release versions after they've been out a few months. They are the most stable, bug free versions.

NEW CAPABILITIES WITH UPDATED O.S.
Now that the Key Stepping of the Gated Sequencer works fully on stacked patches, there are some new capabilities that the Prophet Rev2 has.

Firstly, it can now pull off stacked/layered patches with Vintage Voice Modeling on both layers, with correct voice stepping. This allows for huge sounding vintage stacks, emulating double tracked or binaural stereo sounds, with tons of organic, vintage character through per voice modeling (VCM).

Second, the excellent gated sequencer / modulation sequencer can now be used in key stepping mode for stacked/layered patches. This provides the Rev2 with incredible syncopated motion capabilities, unmatched by virtually any other synth on the market. By combining two layers of Arpeggio motion, with strategically planned Osc Frequency Modulations, Cutoff jumps and other modulations, you can create incredibly rich animated motion that can be played up and down the keybed in any key. The resulting patterns that are created are extremely unique, and by targeting octaves, perfect fifths, and perfect fourths, along with staggered timing/reset points, you can create semi-procedural, intelligent melodies and multi osc harmonies that respond to your playing.

Third, the above two capabilities unlocked with the latest O.S. can be mixed/matched. For example, there are many patches in the soundset and demo, which have a pad, brass or string sound with vintage voice modeling on one layer, combined with an advanced motion arp on the second layer, for rich motion patches, with a fundamental organic, vintage style based underneath.

0:00 PAD-S Pulsimatic VCM
1:11 SPL ZepInTheLight VCM * Led Zeppelin
2:25 PAD Cars Drive VCM * The Cars
2:35 KEY Cars Drive Pluck VCM * The Cars
3:12 ARP PAD HorizonGlow VCM
4:22 KEY EP Everything3 VCM * Radiohead

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New DIGITANA E.M.S Synthi 100 Dual High Pass Filter Rack

video upload by Steven Thomas

"Testing the new Dual High Pass Filter rack FX built under license from E.M.S (Cornwall) by Digitana Electronics and Portabellabz. This filter was originally found in the E.M.S Synthi 100 synthesizer. The unit has the exact same form factor as classic E.M.S rack effects modules from the 1970s.

https://www.synthi.co.uk/synthi-100-m..."

"This is a new 19” rack module built under license from EMS (Cornwall) by Digitana Electronics (UK/Italy) and PORTABELLABZ (Belgium). It is a 100% faithful reproduction of the Dual High Pass Filter (DHPF) section found on early versions of the legendary EMS Synthi 100 synthesiser. An original spare ‘Mk1’ DHPF PCB from a Synthi 100 was kindly loaned by Robin at EMS and then faithfully reconstructed using the same trace artwork/layouts, via modern PCB design software. The PCBs are very high quality with ENS gold plated card edge contacts and traces. The same components as found in the original circuit are used throughout.

The DHPF rack case was deliberately chosen to be the same design as those found in the classic EMS rack instruments from the 1970s such as the Random Voltage Generator, Pitch to Voltage Converter, Octave Filter Bank etc. These were created in CAD from original engineering drawings kindly made available by Robin at EMS. The 1U high chassis is formed from 3mm silver anodised front/rear panels which are connected by solid aluminium side blocks and then 2mm anodised aluminium top/bottom covers. This allows the rack to be safely mounted in standard 19” rack enclosures. The panel graphics use anodic digital printing technology which is far more resistant to wear than silk screened graphics. Original control knobs/coloured inserts/jack sockets made by Cliff Plastics are also used to meticulously maintain authentic EMS design.

An optional beautiful wood rack sleeve is available with the exact same design as found in vintage units. These are made from Afrormosia hardwood (now on the protected species list) just like the original. The wood is ethically sourced from existing historical stock.

Inside the DHPF, the only change compared to 1970s rack modules has been to use a modern (and safer) switch mode PSU. This also has the advantage of allowing a wider range of operating mains voltages (from 98v–220v AC).

The Synthi 100 was designed by David Cockerell and the high pass filter design itself is rather unusual compared to other high high pass filters found in synthesisers. It has CV control of frequency cutoff but also has a response control which can control feedback of the output, creating a resonant peak that at extremes pushes the filter into self-oscillation. The use of diode ‘strings’ in the CV control section of frequency is quite unusual and is reminiscent of the same principle he used in his (later) Synthi Hi-Fli design, although there the filters sections are used to phase shift the input signal.

The high pass filter is capable of easily removing the fundamental in any audio passed through and then the first harmonic as the cutoff frequency is increased. By increasing also the response, the higher frequencies are boosted in a mix and eventually the filter will self-oscillate.

The two filters in the module are identical and a central three-way toggle switch has positions series, off and parallel."

Droning with Pasco Scientific

video upload by osixoone sevenone

"A little drone with Pasco Scientific educational equipment, and a Tibetan singing bowl, looped with Axoloti. The mic input is pretty hummy, so i tuned the drone to the hum and made it part of the drone.
The Fourier Synthesizer is fixed at a base frequency off 440 Hz."

"A few weeks ago I saw this Pasco Scientific set on a second hand site, and thought that these would be great for making drone music. It was made for education on waveforms, AM, FM, and Fourier Synthesis, and once belonged to a University. Steve Mann made a great video about the Pasco Fourier Synthesizer [below]. Today i made a little drone video with this set, and looping it with the Axoloti Core. The dual oscillators have sine, saw, square and ramp waveforms, and there is AM, DSB (dual sideband) and FM. OSC 1 is routed to the modulation input for OSC 2. You can also cross modulate them. At 4:00 i patch the sum out OSC 1 modulation. The Fourier Synthesizer is fixed at 440 Hz, the harmonics have individual level and phase controls."

Pic of the setup.

Steve Mann's video mentioned above:

PASCO FOURIER SYNTHESIZER: Understanding Fourier series with one of my favorite things from 1970s

video upload by Steve Mann

"One of my favorite things from my childhood was the PASCO FOURIER SYNTHESIZER which left me with a very deep and fundamental understanding of periodic waveforms and their Fourier series representations.
I was fortunate enough to be able to play on this apparatus back in the early 1970s.
Here I try to capture the ineffable sense of awe and wonder that it left upon me.
Also featured is the Eico460 cathode ray oscilloscope that I've had since childhood, modified by switching over to a transparent CRT so you can see inside it and understand how an oscillosocpe works.

In 1978 I composed a piece of music that contains only a single note (while its various harmonics gently rise and fall): Adagio for PASCO FOURIER SYNTHESIZER and Lock-in Amplifier.
In 2016 we (Splashtones) did a live performance of this piece, accompanied by hydraulophone and clarinet, as the headline act for VRTO 2016.
See also http://wearcam.org/vrto/
eico pasco015
eico_pasco015.mp4"

Vector Synth Autumn Update

"Over six months have passed since our last update. There is a lot of encouragement and positivity, some amazing feedback and a lot of ideas flying around on where to go next, what things to improve, what new features to add.

We really appreciate the trust Vector operators put into us, a small boutique synthesizer maker. In return, we try to make this little but powerful machine the best it can be.

There’s a lot to share, so let’s get right to it.
Firmware Update 2.6.6

The 2.6.X series firmware has been in beta for a few months and the community has been incredibly helpful with presenting ideas, testing and reporting bugs. After so many iterations — six of them — the 2.6.6 firmware is ready for production use and is shipped with all new Vectors. So what’s new?

New Ladder Filter

In addition to the second-order 12dB/oct filters which can be switched between low pass, band pass and high pass modes, the new firmware introduces a 24dB/oct low pass ladder filter. The new filter provides a classic and well-known tonal character, which in combination with Vector’s synthesis engine gives it new opportunities for creative filtering.

New Blend Modes

The 2.6.6 introduces new Blend modes for even more ways the harmonic Generators can interact. PDAM and rPDAM stand for Phase Distortion and Amplitude Modulation, and Reverse Phase Distortion and Amplitude Modulation. The two new Blend modes complement the existing PD, AM, and PDAM Blend modes. Just like the other modulation types, these are also audio-rate and the operators and modulators can be separately filtered before modulation.

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Mayer Electronic Music Instruments MD900 Extended Virtual Analog (XVA) Desktop Synthesizer

via Mayer

MD900 is a polyphonic desktop synthesizer, multitimbral with 4 parts. A polyphony of 16 voices are shared by the 4 multi-timbral parts. All of these 4 parts have their own effect stack [Mod-Delay (flanger, chorus, vibrato), Reverb, Tube-AMP, EQ, LP-Filter, DYNAMIC (Limiter) , Stereo Delay ...].

The overall audio path is stereo. Rationally, the oscillator, mixer filter, amps and effects are all in stereo.

Four independent arpeggiator und step sequenzer assigned to each of the four synth parts. The trigger sequencer may trigger the built in transient sample player (Drum Kit .wav) or send triggers to MIDI-Out (USB-DIN or USB-MIDI)

The housing is made of aluminum with real walnut wood on the front and back.
All components are industrial grade. On the operator panel we use precision potentiometer with aluminum covered knobs.
For some parameter entries we use endless encoder without rest.
This kind of encoders feels like a potentiometer.
All of this feels very valuable and it feels great to work with.

The MD900 XVA engine is patch compatible with the M800-R2 synthesizer.

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ALLINAIRE - Mandelbrot vs Buchla 259e

video upload by Allinaire

"In this piece the Mandelbrot set ‘plays’ a Buchla 259e and friends (including various Max-for-Live devices). The 259e is my favourite Buchla oscillator as it contains a wealth of tones varying from a simple sine wave to chaotic digital noise - which kind of represents what happens to the points within and around the Mandelbrot set. With a 259e you can make a ton of sounds ranging from pure and harmonic, melodic to percussive, so it is perfect for this experiment.

OK, so this is the first of my explorations into the ‘sound’ of the Mandelbrot set. I’ve been thinking about and working on the idea of ‘sound and fractals’ & order and chaos for some time now. Some of my earlier work is based on these ideas and I intend to release more material exploring the many aspects of these fascinating mathematical constructs and the relationship to sound and rhythm.

This first track and video is relatively simple – I basically look at various points, being real and imaginary numbers, in and around the Mandelbrot set. Depending on where a point starts there is a pattern, or orbit, related to the formula z = z2 + c where ‘c’ is the point of examination. The equation is repeated, and a pattern emerges which you can see by the lines emerging from each point. If the pattern stays within the black area then it is said to be part of the Mandelbrot set and tends to produce a pure or harmonic set of tones. Stable orbiting patterns within the set can also have different periods from 2, 3, 4, 5 and so on, as you can see in the video, these points derive from the ‘bulbs’ off the main set. These periods create the harmonic series tones. Points that are outside of the Mandelbrot set quicky become noisy and chaotic and disappear to infinity.

For this sonic experiment the movement of the original point ‘c’ and the patterns each point creates forms the origin of the notes and gates. The starting point being the fundamental frequency, and the patterns with stable orbits become harmonic ‘chords’. These are converted to midi note data. Changes in the position of the point are registered as a midi note on and off which generates gates and triggers used for the percussive tones. I convert the midi data to cv (control voltages) to drive the Buchla modular synthesiser as well as using the midi within various Max devices. The sounds on the video are derived wholly from the midi / cv data created by the movement of the original point on the Mandelbrot, there is nothing added. The ‘artistic’ aspect of the piece is derived from where I choose to sweep the points and the sounds and percussion allocated to the midi / cv data. I have more in the works exploring Mandelbrot and Fractals! I want to acknowledge that I’m certainly not the first person to do this. There are many many examples to be found on-line and in some instruments. My version is based on this original concept and application code by CodeParade found here:"

Sounds of the Mandelbrot Set

video upload by

"Try it out now! https://codeparade.itch.io/fractal-so... Making music and sound effects directly from common fractals was an idea I though of one night, so I just had to try it out to see what it would be like. The results were really interesting and actually helped me understand even more about fractals and chaos.

Source Code: https://github.com/HackerPoet/Fractal..."

Neuzeit Orbit Bitcrusher + Harmonizer

video upload by Cinematic Laboratory

"Orbit is an effect module providing bitcrushing, harmonizing and filtering. It doesn't do anything on its own, so it needs an external source. It's a great module if you want to turn a simple sound into something huge, and it also works very well with drum and bass sounds, providing lots of animation thanks to the many CV inputs. Highly recommended when you're into Techno. I still have to figure out what will happen with more ambient patches, so there will be a part 02."

Neuzeit Orbit | Part 02 | Light & Dark Ambient

video upload by Cinematic Laboratory

"A second take on the Neuzeit Orbit, but this time in a more ambient setting with a clear light and obscure dark side. After playing with it for more than a week I found out the Orbit works best with either simple waveforms and beats - or a big system with lots of utilities. I don't think it's a beginner module, but if your system needs some 'grit', it's definitely worth a listen."

"In their debut module, the Neuzeit Instruments Orbit is a compelling example of how smaller synthesis blocks can be combined together into a deep and rewarding instrument and processor with its own unique identity. Within Orbit you'll find bitcrushing, filtering and EQ, harmonically-related pitch-tracking oscillators, an envelope generator and LFO, mixing capabilities, and more—all useful elements in their own right. But the magic behind Orbit is how these sections all interact and relate with each other, resulting in complex sound design and processing capabilities without a ton of additional modules or patching.

There are two main sections in Orbit named CRSH and HARM, as well as the filter, dedicated low frequency EQ, and the envelope. External signals enter Orbit at the bottom left, offering two input VCAs with level and CV controls, as well as a third input which runs straight into the filter, skipping the other three sections entirely. The summed output of the two VCAs then runs through a bass boost/cut EQ, which passes onto the other processing sections, as well as being available via the BLEED level control in the mixer just before the filter. Thus, while there is a dedicated level control for the totally dry input signal at the output, BLEED is another way to dial in body and fundamental frequencies which may get lost in the midst of the other sections' processing.

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VINTAGE 1980 PAIA 4700-SERIES SYNTHESIZER (ASSEMBLED FROM KITS) W/ PRO KEYBOARD

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

via this auction

"Analog 'patch cord' monophonic synthesizer that contains all of the fundamental modules needed for music synthesis. I assembled this synthesizer in 1980 using 4700-series kits from the legendary PAiA Electronics, Inc. in Oklahoma.

This synthesizer was in “working” condition before I stored it away. I was already an experienced electronic kit assembler at age 18 when I assembled all of the modules. I used terminal strips to create “bus bars” inside the module cabinets to conveniently provide the three supply voltages (plus ground) to all of the modules. Once I got to college at PSU I begged an Electrical Engineering professor let me use a frequency meter in a lab to calibrate each key of the keyboard to the proper pitch. I recently applied power to the cabinets and proved that the power supplies are working, but their output voltages will need to be recalibrated according to the manuals. I say that this unit is “working”, but I never really got it to make the sounds I was hoping for…

I fell in love with synthesizers as a teenager during the 1970’s because I was into both music and electronics. I desperately wanted to buy a MiniMoog (despite the fact that I didn’t have any keyboard aptitude or training) but, in any case, my family didn’t have that kind of money for something non-essential.

I discovered PAiA Electronics when their first 2700-series synthesizer kits were featured on the cover of Radio-Electronics magazine in 1973. The cover picture showed a fully functional synthesizer built from kits – except that the keyboard was made of hand-bent spring wires with buttons glued to the ends in order to keep the cost down. A few years later PAiA started offering professional 37-note keyboards and enclosures.

I bought the road cabinet and the power supplies first in 1979. I bought the actual synthesizer module kits as I could afford them during 1979 and 1980. I finally raised enough money to buy the (approximately) $100 keyboard/case kit in 1980.

This synthesizer contains the following cabinets and modules:

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Open Amiga Sampler - NEW Amiga hardware announcement!

Echolevel

"Introducing the Open Amiga Sampler - an affordable, open-source, 8-bit/mono, parallel port sampler for the Commodore Amiga featuring stereo mixdown and an input preamp with physical gain control.

Schematics, documentation, parts list and custom PCB files are available at: http://github.com/echolevel/open-amig...

By mnstrmnch and syphus/Up Rough

Music: syphus/Up Rough"

This one is in via @deejayiwan

via github

"What are Amiga samplers?

Over the course of the Commodore Amiga's active lifespan, a great many samplers (also known variously as sampler carts/cartridges, sound cards, audio digitisers, audio interfaces, etc) were manufactured to exploit audio capabilities that were unmatched by any other home computer of its time. In 1989 an Amiga 500 with a cheap 8bit parallel-port sampler gave you the means to produce professional sounding music in your bedroom for a few hundred pounds - about the same as it cost to hire a recording studio for a few days. Acid house and techno were exploding; hardcore, jungle and drum'n'bass were just around the corner. Even if your sample-based Amiga music wasn't quite professional sounding by the standards of audiophiles and hi-fi enthusiasts and the old-fashioned music industry, it was probably good enough for underground clubs and illegal raves! Countless dance, bass and electronic music superstars got their start with an Amiga and a cheap sampler.

Some samplers back then cost a lot of money and offered advanced features or higher quality than the rest, although there was (and still is) a fundamental limit to the sound quality it's possible to squeeze out of an Amiga. This project is a clone of the typical low-budget sampler design that flooded the market in the late 1980s and early 1990s. They're often referred to as 'carts', but they're actually not cartridges: they're usually small 25-pin parallel port dongles whose circuit boards and connectors are housed in the type of plastic shell that systems like the C64 and the VIC-20 used as cartridge housings. But some manufacturers called them cartridges, and we've been calling them carts for decades, so we'll stick with that. Some live in separate boxes attached by a parallel extension cable to the Amiga's printer port, and some connect to both parallel and serial ports, or even to a joystick port, as a hacky but clever way of getting up to 16bit resolution. Interesting stuff, but out of this project's scope for now!

The common features of these cheap sampler carts were:

8bit sample resolution
Stereo or mono
Typical maximum sampling rate of ~55Khz in mono (~37Khz for stereo)
Usually claimed to feature impressive SNR, anti-aliasing filters, and special ~90Khz frequency modes (sometimes these claims were even true!)
The feature set of the Open Amiga Sampler is:

8bit sample resolution
Mono
Typical maximum sampling rate of ~52Khz
Input amplifier with variable gain"

See github for more.

Meet CRAFTsynth 2 0

Modal Electronics

You can find additional posts featuring CRAFTsynth 2.0 here.

"Incorporating the power of 8 wavetable oscillators, CRAFTsynth 2.0 is an exciting modern monophonic synthesiser, not confined to just ‘mono synth’ sounds. With its complex and rich sonic spectrum, CRAFTsynth 2.0 produces modern and contemporary synthesiser sounds for new-school musicians, performers, sound designers and producers.

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FUNDAMENTAL - New Test Equipment VST by SonicLab In Collaboration with HAINBACH

HAINBACH

"In which I am proud to release the VST instrument I have been working on for half a year with Sinan Bökesoy of SonicLab. Crafted with love and care, this is a rich-sounding and exploration-inviting tool for your music. Its steeped in history, but can be adapted to any music style."

Fundamental - the root of electronic music brought into the now.

Sinan Bokesoy

"Fundamental feels like something Stockhausen, Xenakis and HAL 9000 might have dreamed up after a bender. Recalling the past of electronic music and reconstruction of a massive german vacuum oscillator on a modern instrument with immense possibilities. Proudly presenting a collaboration of sonicLAB and Hainbach."

"Fundamental is a sound synthesis software tool combining the different roots of electronic music history. Fundamental wave engine is a faithful sonic recreation of a vintage Rohde&Schwartz vacuum tube oscillator ( having been widely used at WDR by Stockhausen )

Fundamental leaves behind the limitations of the original device by proposing complex modulation possibilities, stochastic distributions addressing the sonic parameters like frequency , gain, stereo panning etc. in continuum, which has not been applicable until now.

Fundamental feels like something Stockhausen, Xenakis and HAL 9000 might have dreamed up after a bender: recalling the past of electronic music through a dynamic modern reinterpretation of a massive german vacuum oscillator,

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New VITAL Wavetable Based Soft Synth in the Works

Published on May 25, 2020 Matt Tytel

First some demos. Additional details below.

Playlist:

Smear: a spectral oscillator morph mode in Vital

Adding some new ways to change oscillator sounds and added this "Smear" mode. It creates a lot of high frequency content so you can create interesting percussive sounds with just the oscillator.

Inharmonic Stretch: New spectral oscillator morph mode in Vital

It's hard to complete, polish and release a large software project like a synth.

It's even harder when you can be creating and playing with new spectral-morphing oscillator modes instead.

This "Inharmonic Stretch" mode moves oscillator harmonics up the spectrum in a non-linear way.

Stereo LFOs and parameter modulation

All modulation source (LFOs/envelopes/etc) in Vital run in stereo and can modulate parameters separately for left/right channels. You might need to put on some headphones.

Modulating the phase of an oscillator's phase distortion.

Here's a feature I made early in Vital's development.
Distortion phase moves where an oscillator's phase distortion happens. Moving the 'Bend' position can make infinitely rising or falling sounds. It also looks pretty cool!

Spectral formant morphing text generated wavetables (feat. Mashed potatoes and gravy)

Added a spectral wavetable morphing mode that removes unintended formant shifts from playing higher notes (like chipmunking) and allows you to control the amount of shift instead.

It pairs well with Vital's text-to-wavetable, but it sounds cool with other wavetables as well.

Physical modeling with a band-spread comb filter

Shepard tone wavetables

Sometimes you don't want your risers to end, so I added Shepard tone wavetables to Vital. I would have uploaded a 10hr video but I figure when Vital comes out you can generate it yourself.

Harmonic Stretch: Spectral morph mode for wavetables in Vital

This "Harmonic Stretch" mode scales harmonics up the frequency domain, leaving the fundamental where it is.

Effects UI design and colors (no sound)

Now that I've worked on the effect design/layout I can finally start playing with colors :D

Effects UI design and colors (no sound)

Now that I've worked on the effect design/layout I can finally start playing with colors :D

Spectral Time Skew

Added this 'Spectral Time Skew' oscillator effect that scrolls through your wavetable a different amount for every harmonic.
Hard to describe, but fun to experiment with!

Spectral oscillator warping + wavetable phase warping

Combining Vital's spectral oscillator warping with more standard wavetable phase warping. All sounds were made with the same waveframe (with no wavetable movement) to show how many different sounds you can get with pairs of warp modes.

Audio rate filter modulation with saw wave input

Modulating different filters with keytracked LFOs in Vital here. Just a saw wave at a constant pitch as input so all the sound you're hearing is mostly from the filter modulation.

via https://vital.audio

"Create Your Own Wavetables
Turn your own samples into wavetables by using Vital's pitch-splice or vocode wavetable import options.

Create wavetables from scratch using the built-in wavetable editor. Interpolate single cycle waveforms, warp existing wavetables into new ones or even generate wavetables from text!

GPU Optimized Graphics
Get real-time synth feedback from Vital's wavetable, filter, LFO, envelope, and modulation animations that run at a clean 60 frames-per-second.

Vital motion blurs LFO and envelope animations to show those ultra fast modulations. All animations are GPU optimized which leaves your CPU to do its real job, the audio processing.

High Quality Oscillators
Generate clean sounds using Vital's oscillators that have an extremely low noise floor and have a sharp cutoff at Nyquist for almost no aliasing.

Worried about CPU usage? There are some clever SSE optimizations to keep the oscillators easy on your CPU, so crank up the unison on both oscillators!

Full Stereo Modulation Chain
Stereo modulate almost any control in Vital. Modulate filter cutoffs and resonances in opposite directions for your left and right ears. Tweak an envelope so the decay time varies in stereo.

If all the stereo modulation gets too crazy, blend it back to Dual-Mono mode and have both stereo channels playing their separate controls in the center for a full stacked sound."

Flame -4 VOX Quad Polyphonic Wavetable VCO/X-4 Quad Envelope VCA/Knight's Gallop-Shakmat Modular

Published on Mar 20, 2020 Dziam Bass

"In this patch I wanted to show mainly 4 VOX Quad Polyphonic Wavetable VCO and X-4 Quad Envelope VCA from Flame Instruments.

I used only one VCO from 4VOX and two channels with X-4.
To this I added pulses from Knight's Gallop from Shakmat Modular to triggers in X-4.
small change of wavetbles and addition of slightly portamento.
the melody is used with LFO as the Arpregio method with clock and quantitative LFO to Pitch in 4 VOX.

http://www.flame-instruments.de

More about modules:

FLAME "4VOX"
Quad wavetable oscillator - Quad LFO - MIDI wavetable expander

The 4VOX is a quad wavetable oscillator with up to four voices per VCO channel, resulting in a maximum of 16 voices at four individual outputs. Due to a MIDI input the module can be played both with CVs or/and directly via MIDI - MIDI allows for modulating some additional parameters. There are 39 memory locations for wavetables and 32 patches for all global and VCO parameters.

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Ouroboros Subharmonic Drone Synthesizer

Published on Feb 12, 2020 Ouroboros Electronics

Don't miss the third video in the playlist above: Ouroboros System I + TR-606 • Techno

"The Ouroboros Subharmonic Drone Instrument takes a fundamental frequency and produces 5 different tones which are each an octave below the one before it. The large knob sets the fundamental frequency, and then the row of six knobs adjusts the volume of the fundamental pitch and it’s five subharmonics. Below max volumes the square waves will sound softer and mix together smoothly, and at full volume they will become grittier. There is also has a 1-pole low pass filter and a master volume control. It has a 3.5mm mono jack output, and is powered by a 9v battery. It is housed in handmade cherry enclosures with a linseed oil finish and a stainless steel bottom.
The enclosure is very slim (slightly less than an inch thick) yet extremely sturdy due to rounded edges, a natural protective finish and steel backing.
This synth is a one-off and is now available for $200USD plus $8 shipping within the US or $28 shipped internationally. To order - contact ouroboros.electronics.us@gmail.com

Reverb added via Eventide Space in the first part of this demo. No effects or processing were used in the second segment."

Side note: there are other pieces of kit named Ouroboros.

Announcing Bitwig Studio 3.1

Published on Nov 14, 2019 bitwig

"Pitch is a fundamental cornerstone of music, and Bitwig Studio 3.1 is tuned up with new exciting ways to work with pitch and scales. Based on Bitwig Studio's unique way to work with micro-pitch information, our new Note FX device Micro-pitch lets you dynamically retune notes, import existing scales and define your own."

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Joranalogue Generate 3 - White Noise Generator

Published on Sep 12, 2019 Joranalogue Audio Design

"While Generate 3 is primarily designed to create clean and reliable waveforms, you can push the circuit beyond its limits using feedback patching. In this patch, the odd output signal is used to modulate the phase parameter. At maximum frequency, the result is a pristine white noise signal from the fundamental output. Adjusting the frequency allows the noise to be 'tuned'.

Generate 3 will be released worldwide in November 2019."

Joranalogue Generate 3

E-RM INTRODUCES POLYGONAL SYNTHESIS with New Polygogo Eurorack Module

You can find demos of E-RM's Polygogo in the archives here. It was introduced at this year's SUPERBOOTH. Full details on the upcoming module follow.

"E-RM’s polygogo Eurorack module is the very first digital stereo oscillator to feature the brand-new Polygonal Synthesis technique, invented by E-RM founder Maximilian Rest and DSP specialist Christoph Hohnerlein. Based on complex two dimensional amplitude shaping of sine waves, the polygogo is a performance-oriented, high-quality instrument which allows you to explore fascinating sounds and shapes alike.

Thanks to the combination of Polygonal Synthesis, two internal modulation sources and a beefy, fully-analog overflow stage, the polygogo is capable of generating an extremely wide array of animated spectra. Its results range from lush drones, massive basses and fierce leads to glitch madness and even sounds reminiscent of acoustic instruments.

Its “single knob – single function” interface, created in collaboration with instrument designer Tatsuya Takahashi, makes the polygogo not only a terrific live performance synthesizer, but a great tool for meticulous sound design as well – no menus involved.


E-RM polygogo eurorack module showing a polygon of order 3 with slight FM modulation.
You’d like some visuals that match your creative sound explorations? – The polygogo can deliver! Just connect its X and Y outputs to a laser system, X/Y plotting visualizer or video modular and enjoy some intriguing, constantly moving and transforming shapes on an external screen.

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