Tales From The Rack no.5 - Eurorack Performance.

Published on Feb 27, 2018 Richard Lacy

"Hello. Another tale from the Eurorack and a piece which started out as a ‘reel’ for the Make Noise Morphagene, recorded beforehand with the PPG Wave 2.2.

Perhaps the notable thing about this piece, is that even though it’s a big patch, most of the modules aren’t even breaking a sweat. They’re just doing simple jobs. There are some definite Floydian tendencies here; influences come to the surface sometimes….

As ever, it’s one pass and no overdubs (see the end of the Patch Notes for mixing info).

I’ve tried to make this one a bit more interesting visually (still using an iPhone5 with a shattered screen and it always drifts out of sync with the audio, which is infuriating!). It can be difficult to see what modules are in the system from the main wide shot, so I thought I’d add some close ups. Also, I have no idea how to edit video, so it’s time to learn.

Thanks for listening. If you like what I’m doing, please like and subscribe. Your support is most welcome!

Patch Notes:
Doepfer MAQ 16/3 is the clock source.
Clock to 4MS rotating Clock Divider and Frequency Central Pocket Calculator and some multiples.

1. PPG Wave sampled into Morphagene. Played by a clock divider. Metropolis pitch CV is modulating the slide control. Output to AQA Dual State Variable Filter, then to the TipTop Z-DSP (Halls Of Valhalla).

2. Gate output of the Metropolis is playing the Atlantis (main bass). Pitch CV comes from the Stepper Acid, running on a very slow clock. There’s a Switched Multiple in the pitch CV path, meaning I can choose a static bass note, or kick in the full chord progression.

3. The Stepper Acid is also playing the chords. The post Switched Multiple pitch CV is going to a few places:
Shapeshifter in chord mode: Cello 1. Shape modulated by an LFO.
Three Doepfer VCOs are tuned to the rest of a chord, the third requiring an offset generator.
All signals go to a Ladik mixer, then to an Analogue Solutions Telemark Filter. The filtered signal finally ends up in the Rainmaker, giving a bit of space.

4. Plonk. This is the guitar-type sound. Fixed note and the gate comes from the 4MS RCD on the div-3 output. Plonk output goes to the 4MS DLD.

5. Something I’ve done before, but I like it… 4MS Spectral Multiband Resonator. Bands tuned and locked. Band levels controlled by six Analogue Solutions AR Envelope Generators. The EGs are triggered from the outputs of of the A-149 Stored random Voltages.

6. Bass drum. Braids triggered by an Analogue Solutions SQ8.

7. Snare drum. Braids triggered by a Doepfer clock sequencer.

8. Hats. Doepfer white noise into a Telemark Filter. Doepfer ADSR and VCA doing the rest, triggered by the Turing Machine.

9. Perc. TipTop One triggered by the Turing Machine. The Turing Machine was locked throughout. I meant to alter the pattern partway through the track, but I forgot! All drum reverbs come from Pro Tools.

10. I still haven’t fallen out of love with Rings and Clouds in their most basic forms yet, so here they are doing their thing. Was determined not to use them, but I patched them in and they sounded ace. Doepfer Dark Time Sequencer is providing the notes and gates. Rings Position is being modulated by Tides, quite heavily towards the end. Rings is just repeating a four note sequence; it’s Clouds doing the time shifting and blurring.

11. The big filthy sound: pitch is coming from two Analogue Solutions SQ8 sequencers. Un-quantised, for more varied harmonics and going Evian a Doepfer Slew Limiter. There were only two Doepfer VCOs left by this point, so that’s what we’re using. Tuned in octaves, the square wave of one goes into the A-113 Subharmonic Generator, giving lower octaves and another intervals.
All these signals are mixed together, the intervals being a bit quieter, but their harmonic content is used in what comes next. It’s a lot of filtering!
First up is the AM Snowfall Filter, not taking much off the top, but there’s a thickness to the sound. Second is the Eowave Fluctuations Magnetiques. All four filters in use, with each one tuned to a different resonance, waiting to be ‘peaked’ by the changing notes. Third is the Dave Smith Character; this is where the big distortion is coming from. Lastly everything goes through an Analogue Solutions SY-03 for overall tone control.
By this stage, I’ve run out of reverbs and delays, so this is getting delay and reverb from Pro Tools.

12. Maths. Used as two envelope generators. These envelopes are fed into the ‘initial gain’ input of two Korg MS10s.
The first has fixed pitch, playing a high 7th. The second is playing root, sharp 5 and 7th. Notes from an SQ-8.
You can hear these gently fading in and out in a rather Floydian manner. External reverb and delay.

13. Korg MS20 has a sample and hold on the gate and is playing a low root note, used at both ends of the piece.

Nearly everything goes via a Mackie mixer (under the camera). I’m using this to bring parts in and out. From there, it goes to Pro Tools."

Tiptop Techno Box the Quad ONE

Tiptop Techno Box the Quad ONE from Tiptop Audio on Vimeo.

"Starting with the new Fold Processor, then turn on the beat with four ONE modules playing Glitchmachines cards and a card with chords. BD909 for kick Z2040/Z4000 do the bass with a chord from ONE, HATS909 HATS808 and MA808 adds more hats. Switching sounds on ONE playing the BENT card, everything but the bass drum gets processed by the Z-DSP. A stereo from the Z-DSP into Apogee Elements88 and BD909 output to the Elements on another channel. Limiter is set on Abelton master and thats it."

Update:

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HYDRA: Band Taps Chorus

HYDRA: Band Taps Chorus from Station 252 on Vimeo.

"Testing the new HYDRA card for Tiptop Audio Z-DSP. Playing with the fourth algorithm: Band Taps Chorus

Voice 1: ONE playing DOTS sound > Vermona VcDrive > Toppobrillo Multifilter HiPass > Tiptop Z2040

Sending ONE into Band Taps Chorus on Z-DSP via aux sends on the Mackie mixer.

Voice 2: ONE playing DOTS sound (metallic percussion)

Sending ONE into Halls Of Valhalla Room on Z-DSP and later to Band Taps Chorus via aux sends on the Mackie mixer

Voice 3: appears at the very beginning. Verbos CO > Tiptop FOLD Processor > R°S VQVCF

Sending CO into Halls Of Valhalla Room on Z-DSP via aux sends on the Mackie mixer

Kick Drum: TTA BD808

http://tiptopaudio.com/z-dsp/"

TIPTOP NEW FOLD PROCESSOR: SINE

TIPTOP NEW FOLD PROCESSOR: SINE from Station 252 on Vimeo.

"Testing the new Fold Processor module from Tiptop Audio.

First part: Sine from Z3000 into the Fold, Fold is modulated by Math at audio rate. Running through Z2040 - mostly fully open.

First dry, then with Z-DSP Halls Of Valhalla room reverb.

Second part: self oscilating Random Source VQVCF into the Fold, Fold is slowly modulated by Math. Inject is modulated by Math at audio rate. Running through Z2040 - fully open + Z-DSP Halls Of Valhalla Plate reverb."

Part 1 here.

Halls of Valhalla Tiptop Z-DSP demo (singing bowl)

Published on Oct 15, 2014 bigcitymusic

"Tapping on a singing bowl is routed through the Halls of Valhalla Tiptop Z-DSP module (Cathedral and Niflheim modes)."

M13 Core

Published on Aug 28, 2016 davidryle

"An ambient aleatoric modular patch.

Noise Engineering Numeric Repetitor sending gate pulses to the Tonnetz Sequent which is sending (modulo) pitch cv to three Q106 vco's. Filtering and EG's are all synthesizers.com and Oakley Audio.

A Flame Chord Machine is also used for pitch duties to three more Q106 vco's and a Mutable Instruments Rings.
There are doubling of the pitch data to a noise patch using a pink noise source and a pair of Q960 sequencer to control a cv FM Radio module to a CGS Real Ring Modulator then through a MOTM 440 LPF into an Encore Frequency Shifter. The FS is cv modulated by a 10v signal from MI Frames. The Down output of the FS is sent directly to Clouds right channel. The Up output of the FS is sent through a Makenoise Echophon in pitch shifting mode. It is 1v/oct controlled from a fourth channel out of the Flame Chord Machine. The feedback output of the Echophon is sent to the left channel input of Clouds the left output of Clouds is returned to the Echophon feedback input and the mix out is back into Frames via a Yusynth Minimoog filter.

Frames is amplitude modulating the Clouds outputs.

Loads of pseudo random voltage and gate timings from two Turing Machines and 4MS QCD. The main clock is from Cubase dinsync to a Pamela's Workout.

Intellijel Plog is used for a Malekko Switch module to shift the vco third and fifth cv's from the Tonnetz, and the input to the Chord Machine. It is also used to toggle the 2nd Tone factor on the Chord Machine.
Two Maths and a Quadra are employed to control timing to the Frames automation.

Other FX include a Z-DSP in Halls of Valhalla, a Behringer Chorus Space pedal and a Strymon Blue Sky pedal. A pair of Lexicon MX200's are used for subtle reverb and delay."

DUAL CIRCADIAN RHYTHMS IV

DUAL CIRCADIAN RHYTHMS IV from Station 252 on Vimeo.

"this is the final version of my big live patch. before going into the patch details I just wanted to say that this patch turned out to be an overkill for live use but ironically was great to play in the studio. Its just way too complex for being playable live, so I'm going to slim it down, patch research will follow in the form of short patch videos, meanwhile...

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MakeNoise Tempi-Samurai Beats

MakeNoise Tempi-Samurai Beats from Richard Devine on Vimeo.

"Sneak peak first patch with the TEMPI module by MakeNoise. TEMPI is a 6 channel, polyphonic, time-shifting module. It provides an intuitive method for the creation and recalling of complex clocking arrangements within a modular synthesizer system.

The primary user interface and programming elements for the module are six large, illuminated buttons:

BUTTON-1 through BUTTON-6, and two smaller illuminated buttons:PGM_A and PGM_B. The module is able to store up to sixty-four clock/timing scenarios called "STATES", arranged in four BANKS of sixteen. An LED is used to indicate the current BANK by <COLOR> and changes in STATE indicated by <FLASHING>. There are INputs for External TEMPO, a Gate INput for MOD, and STATE Selection via a CV INput (with Combo pot for attenuation) and / or GATE INput.

The primary goal of this module is to have the maximum amount of artist-controlled musical variation with a minimum amount of data inputs.

Specific notes about the patch:

All the beats are being sequenced by the Tempi module. There are several stackable cables going out to two Addac Wave players, each playing 72 samples each, and the main drums are coming from the Nord Drum 2, which is then split into two signals one being processed by a Mungo g0 dual delay/storage strip clocking through different delay feedback presets. Then the outputs from one of my ADDAC 101 waveplayer's was then being processed by a Qu-Bit RT-60, and another RT-60 was processing the output of the other ADDAC 101 waveplayer. Running both at the same time and then using one of the Gate outputs 5, and 6 from Tempi to switch through different effects on the RT-60's and at the same time triggering different samples. This is what was creating the different effects processing happening at specific time intervals. Snare noise sound coming from the Hex Inverter new Snare module. Other modulation coming from the OmniMod module from Macro Machines, going out to the Folktek Matter module adding in some of the extra tiny glitches and textures. The drone chords come from the ALM's ALM011 / Akemie's Castle running into the TipTop Z-DSP halls of Valhalla card using program 8. The bassline is from a Modcan FMVDO running into a MakeNoise Optomix. The high harmonic notes played via a Mutable Instruments Ring Module, sending out a clock from channel two from Tempi into X clock input on Rene. Everything was recorded in one take."

Dark Corridors - Modular Patch

Dark Corridors - Modular Patch from Richard Devine on Vimeo.

"This patch was built entirely around the Delptronics Trigger Man which is a unique trigger/gate sequencer module with a 8HP format. The idea was to take 8 different patterns consisting of 8 steps for each of the 8 outputs. Then run the trigger man in pattern play mode using the VC input to determine the currently playing pattern. The 8 patterns where programmed to flow into each other in sort of a quasi random string. Output one was sent to the Tiptop BD-808 kick drum. Channel 2 was sent to the Snazzy FX Ardcore triggering one custom snare sound created with a NordLead 2X, these sounds where imported into the "fac drums" Arduino sketch. This output was then ran into the Synthrotex Eko to provide flowing delay slap back effect to the snare sound. Channel three output was sent to the first channel of the 4ms QCD, running at the 6th knob position in divide mode, then sent to the trigger input on the Mutable Instruments Braids VCO running in "CLKN" mode using the "PIK" envelope setting to create a very short synthetic hi-hat sound. Channel 4 was sent to the external clock input on the MakeNoise WoggleBug which then triggered out the stepped random sequence into the 1volt into the intellijel shapeshifter, and also splitting the signal using stackable cable to the Macro Machines "Storage Strip" module that was controlling the program step modes to the Mungo d0 delay module. Input to the Mungo d0 was from the "DAC" output 2 from the Ardcore. Channel 5 was ran into the "Sync" input on channel one of the Modcan Dual delay. Another stackable cable going from channel 5 went into the 4ms SCM clock input. The drones are created using two sine outputs from the MakeNoise DPO. Sine output one is running into one MakeNoise Optomix with a slow rate LFO (intellijel Dixie) controlling the damping/contrl settings. This output is then sent into the Tiptop Z-DSP running the new Halls of Valhalla cartridge. The Reverb algorithm used in this patch is "Ginnungagap" for the atmospheric drones of the modulated FM sine waves. The second output from DPO is running into another Optomix with the another intellijel Dixie controlling the damping and CV-control settings, but with slower rate times. The output from this was then sent to the Strymon "Big Sky" reverb pedal running in "Chorale" mode for the vocal like resonant drones. Other sound sources used are the Intellijel Shapeshiter for the high end DSP-FM scatters, which is being triggered by the inverse out on the 4ms QCD expander. Next is the Modcan CV-Recorder playing back recorded noisy computer glitches being controlled by the Modcan Quad LFO which is being clocked by the channel one output on Trigger Man. The murky watery sounds came from the second Mutable instruments Braids oscillator running in "Cloud" mode into the channel input 1 of the Modcan Dual delay with lightly filtered position. The last sound source is the Qu-Bit Electronix Nebulae playing back a single shot 40 second sample in loop mode of sounds I created in a Reaktor patch. All signals routed into the Intellijel Mutamix and Steady State Fate- Mixmode. With 4 additional output being mixed into an Allen & Heath mixer. :-)"

via Richard Devine on The MATRIXSYNTH Lounge

Grayscale Algorhythm and Binary - Random Logic Acid

Grayscale Algorhythm and Binary - Random Logic Acid from Joseph Fraioli on Vimeo.

"A patch built around the new Grayscale Algorhythm and Binary modules.

Main clock source for this patch is the Livewire Chaos Computer. The gate out is feeding the left most Algorhythm module, which is in random mode. The top row of outs is going into the left Binary module in OR mode. The output of the Binary is then triggering the Tip Top BD808 kick drum that is then fed into the Modcan Dual Delay.

The same Chaos Computer clock source is multed to the right Algorhythm with the same process applied to the Binary. The Binary output here is triggering the Mutable Instruments Braids in Meta mode. The output of Braids is multed into a mixer as well as a VCA. By manually triggering the a pressure points pressure output, the signal is sent to the Qu-Bit Electronix RT60 for reverb throws.

The main clock source is then multed into the 4ms shuffling clock multiplier and outputted to the Cylonix Shapeshifter via the x 2 output though a channel of the Make Noise Maths v2. A synced LFO from the Modcan Quad LFO is triggering the cycle input as well as another sine LFO is modulating the fall time.

The center Algorhythm is in seq mode and clocked by a divided by 8 of the original clock source via the 4ms Rotating Clock Divider. The eight outputs are triggering eight tuned vocal samples on the Qu-Bit Electronix Nebulae in one-shot mode. The Nebulae output is then run through the Serge Resonant EQ and the Tiptop Audio Z-DSP with the Halls Of Valhalla reverb card.

The Make Noise Wogglebug, DPO, Maths and MMG provide acidy baseline.

The outputs of the Shapeshifter and DPO are put through the WMD Sequential Switch Matrix to use as a simple mute system for performance.

At around 3:17 I got a call from my cat food delivery guy.

No computers or editing were used in the making of this performance."

Tiptop Audio Z DSP with Custom Black Panel

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

"This Z-DSP is fully functional and in Mint condition. Included are the Dragon Fly Delay and Halls of Valhalla Cartridges.
Fitted with a custom black panel. Original panel is included as well.

The Z-DSP is an open-source, cartridge-based, digital sound processing and generating platform for your modular synthesizer. The Z-DSP has a stereo DSP processor with 24-bit sampling, 15khz of bandwidth, smooth voltage controlled parameters, and has the ability to be programmed - all in a Eurorack format. While the Z-DSP cannot compete with the processing power found on personal computers, it does provide direct control of the DSP hardware and has a unique set of features aimed at the manipulation of digital effects. With the Z-DSP, digital audio can be bent, stretched, deformed, and distorted by interacting with your modules; something personal computers just can't do.

The Z-DSP interface includes VC digital parameters, VC Mix/Dry, manual and sequential program switching, and a pair of VC feedback loop paths with exposed patch points that let you insert the rest of your modular into the DSP process. The Z-DSP lets you go far beyond ordinary processing, breaking the rules and allowing you to patch right into the heart of the DSP chip through the clock input, allowing for some digital madness and creative sound design.

Width: 28HP
Depth: 59mm
Consumption: 130 mA +12V / 36 mA -12V"

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Setonix Synth and Bastl Dual Filters

video upload by John Schussler

"I've already looked at the Setonix Synth Marsupial. Really liked it, and was accordingly quick to order the Macropod when it became available. At about the same time I got ahold of an Ikarie from Bastl.

Between the three of them, I have a hard time choosing a favorite, and all are definitely keepers.

This is a short comparison to get a feel for their respective sounds. I'm not spending a lot of time on the Marsupial since I already covered it (see link in description/above), but do want it here so I can have a clear ear on how it differs from Macropod.

Source VCO is a Dannysound Cali Osc. Envelope from Zadar. Sequence from Stochastic IG. And a touch of Valhalla reverb at the end.

00:00 Intro
00:20 Marsupial
03:44 Macropod
11:28 Ikarie"

8hp Eurorack Filters

video upload by

"So you have 8hp available, and want to fill it with a filter. Here are some options. They aren't all the options, there are many, many more. But a few new 8hp filters have arrived recently (the XAOC, CCTV, and SetonixSynth), so it seemed like a good time to compare them with some other 8hp filters I have close at hand. For the most part I'll be listening to low pass outputs only.

Source audio is an Intellijel Dixie II+, with a mix of several waves. Envelope is from Zadar. Sequence from Stochastic SIG. A touch of Halls of Vallhalla reverb at the end.

00:00 Intro
00:20 Zagrzeb
09:52 Filther
17:14 Marsupial
24:30 Vorg
32:02 Coiler
40:42 Ripples"

Malekko Heavy Industry - AD/LFO *FIRST PATCH*

Published on Aug 8, 2016

"Straight away I really like this module, love the module ... is loving part of a machine that's nearly useless on it's own weird - maybe ... but it's ace so it's ok! You've got 6 envelopes or LFOs grouped in two sets of 3 with a time switch (longer envelopes or shorter) and a loop switch per group of 3 ADs as well as sum outputs which are great for create new and more unique overlapping modulation shapes. Full overview video coming soon.

This patch is just 5 modules. The sound source is the ALM Akemie's Castle going into an Intellijel uVCA then into the TipTop Audio Z-DSP with the Halls Of Valhalla card. The AD/LFO modulates Akemie's Castle with the bottom three ADs triggered by the clock output of an SSF URA. The top three ADs are looping. The two S&H outputs on the URA modulate the amplitude of the A and B outputs on the two channels of the uVCA. Bias is used on the channels for constant level with added random amplitude on the stereo signals from the S&H."

Circadian Rhythms

Circadian Rhythms from Joseph Fraioli on Vimeo.

"a patch focused around the tiptop audio circadian rhythms (CR) as the heart of the system that provides the main clock source and triggers for events.

the programming was done on all 8 channels of the CR in 2x32 mode. fills are set to 16th note. mutes, fills and additional programming are performed on the fly.

patch basics:

CR ch 1: main kick
sound source is the blue lantern BDv4 going through the modcan frequency shifter.

CR ch 2: snare
sound source is the make noise mysteryon who’s pitch is being modulated by the mod can quad lfo who’s synced to the CR main clock output. the output was split into a separate VCA who’s being opened by the sound machines light plane and sent to the mungo d0 with macro machines storage strip. the storage strip is being sequenced by the CR main clock output.

CR ch 3: closed hat
sound source here is the SSF quantum rainbow blue noise.

CR ch 4: open hat
sound source is the SSF quantum rainbow white noise though the intellijel µfold and then a bit of delay from the synth tech e580.

CR ch 5: glass percussion as well as delayed bass and end melodic thing
glass percussion sound source is the noise engineering BI. pitch modulation from the tiptop z8000. delayed bass is an intellijel dixie square run through the cwejman res-4 and.end melodic thing is the harvestman piston honda MKII.

CR ch 6: chord bursts
this is the intellijel/cylonix shapeshifter in sequence mode then run thorough the qu-bit electronic RT60 reverb.

CR ch 7: tonal accents
sound source is braids in meta mode. also being sequenced by the CR and pith modulated by the tiptop z8000.

CR ch 8: sub kick
sound source is the tiptop audio BD808.

acidy bass: trigger source for the acidy bass is the intellijel metropolis that is synced to the CR via the clock output. sound source is the intellijel rubicon thats being FMed by a DIXIE sine, then put through the cwejman MMF1 in low pass.

tonal drones: trigger source here is the divided output of the intellijel metropolis into two make noise pressure points that have been micro tonally tuned. the sound sources here are synth tech e350 and make noise DPO that share a common mutable instruments peaks ADSR. the sounds are then processed through the serge resonant equalizer and tiptop audio zdsp with halls of valhalla reverb card.

hi plucked melody in mid section: this is the qu bit nebulae playing back a sample of mutable instruments braids in PLUK mode playing a melody sequenced on metropolis then fed to the mungo d0. the nebulae is then processed through flame FX6 reverb.


no computers or external hardware were used in this performance :)"

Live Techno Eurorack Modular Synthesizer | Sworn64

Published on Feb 5, 2020 sworn64

"Live Eurorack Modular Techno Synthesizer | Sworn64

This is my first patch with the WMD Crater kick drum module and MSCL compressor. The bassline is going through the MSCL with the kick in the sidechain input. The bass is a Roland 512 oscillator through a System 80 860 Filter (The smaller version of the JOVE filter). Intellijel Dual ADSR is controlling the filter and the VCA output which is an Intellijel Quad VCA. Snare Drum is the Hexinverter Mutant Snare. The lead synth is the Noise Engineering Manis Iteritas with various voltages sources mixed t an Intellijel Scales quantizer to sequence pitch. The voltage sources are a clocked Mutable Instruments Marbles, a stepped random from a Make Noise Wogglebug (also clocked) and a cycling Make Noise Maths. These are all being mixed through an Intellijel Triatt. Noise Engineering Lapsus Os is used to perform the range of pitch to the Manis Iteritas via the Wogglebug’s External input. Wintermodular Eloquencer is the main sequencer and I’m using the EME expander for performance of kick and snare drum fills and mutes. The whole mix is sent through a WMD Overseer filter. The Intellijel Plannar is used to perform the filter cutoff as well as mix in some white noise from the Steady State Fate Quantum Rainbow. Mix is through a WMD Performance mixer with the Halls of Valhalla reverb on the Tip Top Audio Z-DSP and a Make Noise Mimeophon for Delay effects. The bassline is also going through the 4ms DLD for some stereo delay. The atmospheric background synth is the Mutable Instruments Plaits through a Strymon Engineering Magneto. Xaoc Devices Batumi is modulating lots of things. I am tweaking some random samples from the 4ms STS that have a really short loop on them to create some interesting sound effects here and there.

The LED lightbar is a Strange Electronic Lightstorm, a eurorack module that controls the LED bar via incoming CV. Thanks to Strange Electronic for providing the prototype arms to hold the lightbar above my modular so it lights up all of the gear. It looks awesome!"

Borderlands

Published on Jul 9, 2016 davidryle

"I recall driving along Highway 9 in south New Mexico from El Paso, Texas to Animas, New Mexico on the way to Tucson, Arizona. The long bouncy road made an unforgettable impression of the remote southern US border region.

I tried to produce the drone impression of the road noise and wide open scenic expanse in this project.

A live studio take of the modular synthesizer recorded in Cubase and captured by the iPhone. Video edited in Final Cut Pro.

Some module patch highlights include the MI Clouds in Parasite Resonator mode dealing with a few voltage controlled radio station audio signals and one of the melodic sequencer lines.

The bass line is a Q960 step sequencer sent to a Q106 vco through a Yusynth Minimoog LPF. It is sent through a Modcan dual delay and Lexicon studio delay. There is a doubling with the MakeNoise Mysteron through a STG Sea Devils filter and the TipTop Z-DSP with Halls of Valhalla.

Other sequencer lines play various slow melodic passages over the top. Some of the vco sources are half dozen Q106's, Mos Lab 901 + 904A suite, Harvestman Piston Honda and Ian Fritz Synthetic Sound Labs DDVCO through Yusynth Arp 4072 LPF. Effects included Strymon Blue Sky reverb, Behringer DD400 delay, SSL 1310 digital delay, Lexicon MX200's and TC Electronics D-Two.

A periodic low frequency drum sound is generated by an envelope to a STG Post Lawsuit LPF and noise from a Sputnik WCRS.

Clock timing handled by Cubase to Future Retro Mobius which drove the STG Soundlabs sequencer suite, 4MS RCS and QCD and Moon Modular dividers, Pressure Points as well as the Q960 and Q119 sequencers"

Peta Nocona

Published on Jul 11, 2016 davidryle

"An interesting patch of the Mutable Instruments Rings and Clouds with feedback routing through an Echophon and Music Thing Spring Reverb. The Pressure Points was sending a T-Gate trigger to Rings and CLouds trigger inputs. Also two rows of CV to the 1v/oct inputs.

Clouds was in Parasite Resonator mode. Rings in 'string' mode.

The third row of Pressure Points was sending CV to channel 1 Maths both A/R control, which was in loop or LFO mode sending a modulation to the Echophon pitch input.

Feedback was from the Rings Even out to Echophon then back into Clouds. Clouds right channel out to Spring Reverb and back into Rings IN. Rings Odd out to one channel of Z-DSP and Clouds left channel in to the other input of Z-DSP. The Halls of Valhalla dsp was used. Both channels sent to Intellijel Azimuth for final output.

Finally a Pressure Points pressure CV was sent to the Rings Frequency input as negative pitch bend modifier."

The Mystic's Cloak

Published on Jul 22, 2018 davidryle

"Metropolis, Pressure Points + Brains, 2x Turing Machine, 2x Q960, Moon Modular M563 Trigger Sequencer and a Q119 step sequencer are used to conduct a looping round of notes and key changes to various euro and 5U modules, (mainly Rings, a Modcan 901 VCO suite and several Q106 VCO's).
A pair of the STG Soundlabs Envelope Generators and Sidecars are used with a Mega Ohm Audio CdS for the percussive elements.
Longer gate timings for the background sequences from the STG Voltage Mini Stores and Trigger Mini Stores are stretched out by the use of a triple switch from synthesizers.com and a pair of (62 Sequential Switches.
The phase shifted noise is from the Jurgen Haible Tau Pipe Phaser.
The noise wash and background discordant chord pads which begins and ends the piece are a recording of Mutable Instruments Rings into the Makenoise Morphagene. The Morphagene is run into a Z-DSP with Halls of Valhalla ensemble chorus and a Clouds in feedback loop. Various LFO's are handling the feedback and mix between these elements.
Additional effects include Electro Harmonix Canyon in tape delay mode, two Behringer DD400 delays, a Modcan 73B dual delay and a Synthetic Sound Labs 1210 Digital Delay.
All recorded in a single take to Cubase and video edited in Final Cut Pro."

🧚 Fairy Fountain | The Legend of Zelda | Modular Synthesizer

video upload by Sworn64

"🧚 This is a classic video game song from The Legend of Zelda series with tons of nostalgia. Please enjoy this modular synthesizer version of the song.

I initially made this as a way to learn more about working with chords on the Audiophile Circuits League Sinfonion module. This song has lots of chord changes, so I thought it was a great choice.

Patch Notes:
✨Main Synth Voice: Mutable Instruments Plaits - Ripples - Beads - AJH Synth Next Phase
✨Secondary Synth Voice: Black Corporation Deckard’s Voice
✨Bass Synth Voice: Noise Engineering BIA & Moog Subharmonicon - Music Thing Modular Mini Drive
✨Lead Synth Voice: Noise Engineering Manis Iteritas - System 80 860 & QuBit Surface
✨Chord Voice: QuBit Chord - Intellijel Polaris Controlled by ACL Sinfonion
✨Drums: System 80 880 & Moog DFAM
✨Water Samples: 4MS Stereo Triggered Sampler : WMD Overseer
✨Granular FX: Instruo Arbhar processing Deckard’s Voice
✨White Noise FX: Steady State Fate Quantum Rainbow - Make Noise Q-Pas
✨Performance Controls: Polyend Preset, Doepfer A-174-4 3D Joystick, Emblematic Systems Catalyst Flow, Michigan Synth Works F8R
✨Performance Effects: Strymon Magneto, Happy Nerding FX Aid XL, WMD Overseer
✨Sequencer: Winter Modular Eloquencer
✨Mixed through the WMD Performance Mixer with Halls of Valhalla Reverb on the Tiptip Audio Z-DSP & Make Noise Mimeophon."

TIPTOP ONE: DOTS

TIPTOP ONE: DOTS (prt_1) from Station 252 on Vimeo.

"Demo of the upcoming DOTS - samples collection for the fantastic ONE sample player eurorack module from Tiptop Audio. Created by Konstantin Gervis (www.zv-k.com / www.station252.com) specifically for the module. Synthesized using a huge Eurorack modular system, various analog and digital synthesizers and a music easel. The sounds were carefully selected to work particularly well in ONE and to be highly usable for live and studio work.

In this video: other than the BD808 bass drum all the sounds are coming from two ONE sample player modules. The first is playing the synth lines - pitch sequenced on Z8000, triggers on the Trigger Riot. The second one is playing the percussion samples - sequenced on the Trigger Riot. A bit of Halls of Valhalla Room on one Z-DSP and Clocked Delays on the second, but there is dry sound too, the FX are to give a taste of how it sounds in a context of a track.

http://tiptopaudio.com/new/ONE/"