Moog Sound Studio Generative Patches: DFAM + Subharmonicon

video upload by Anton Anru

"Welcome to the soundset for the semi-modular system, Moog Sound Studio: DFAM + Subharmonicon. DS Generative is a collection of 25 patches. This genre of sound design is very popular inside modular culture, and Moog Sound Studio suggests a good set of features to enter this club.
The bank covers a wide range of tones: warm, deep, bright, metallic, soft, expressive, dreamy, dark, evolving, detuned, inharmonic, noisy, distorted and others.

🧊 Get the soundset: https://antonanru.sellfy.store/p/moog...

Controlled chaos and randomness, probability, non-repetitiveness, tempo break, pattern uniqueness, short and long sounds alternation, unexpected changes, silence and density, harmonic and fx-like tones, freaky splashes during a sequence - all these things are included in the soundset.

Generative timbre may be a good addition to (or a lead part of) ambient or techno tracks, jams and performances. You may also record fragments into your DAW or sampler, slice it to one-shots or make loops - you’ll get a unique material for further processing.
The main point of the soundset is the high level of interconnection. In this patchbook, the timbres of the synths are soldered and can’t exist separately:
🔸 they modulate each other with Envelopes
🔸 a sequence from one synth may change parameters on the other one
🔸 triggers interaction, clock/rhythm, run/stop modulations break predictable patterns
🔸 audio signals from VCOs may be used as modulation sources to create harmonies/intervals or crazy experimental inharmonic tones.

The soundset is presented in PDF format. Each page contains notes that explain how the patch works, what parameters are worth tweaking during playback, and how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn a lot about the synths and discover their true depth.

To recreate these patches, you need up to 13 patch cords.

There are audio examples of all patches inside the folder with the soundset. Audio examples for a patch are presented in three variants: DFAM only, Subharmonicon only, and both together.

CLICK FOR MORE »

Moog Sound Studio: DFAM + Mother-32 Generative Patches. Demo

video upload by Anton Anru

"Welcome to the soundset for a semi-modular system Moog Sound Studio: DFAM + Mother-32.
'DM Generative' is a collection of 25 patches. This genre of sound design is very popular inside modular culture, and Moog Sound Studio suggests a good set of features to enter this club.
Controlled chaos and randomness, probability, non-repetitiveness, tempo break, pattern uniqueness, short and long sounds alternation, unexpected changes, silence and density, harmonic and fx-like tones, freaky splashes during a sequence - all these things are included in the soundset.

That was a hard work. Each patch took me up to 2 hours. I tried to find interesting combinations of settings and patching. Hope you will enjoy the results.

🧊 Get the soundset: https://antonanru.sellfy.store/p/moog...

Generative timbre may be a good addition to (or a lead part of) ambient or techno tracks, jams and performances. You may also record fragments into your DAW or sampler, slice it to one-shots or make loops - you’ll get a unique material for further processing.

The main point of the soundset is the high level of interconnection. In this patchbook, the timbres of the synths are soldered and can’t exist separately:
🔸 they modulate each other with LFO and Envelopes
🔸 a sequence from one synth change parameters on the other one
🔸 gates and triggers interact to break predictable patterns
🔸 audio signals from VCOs may be used as modulation sources to create harmonies/intervals or - crazy experimental inharmonic tones
🔸 or they may be used just as audio sources sent to the other synth for processing with its different filter and envelope, giving them a 'second life’.

The soundset is presented in PDF format. Each page contains notes that explain how the patch works, what parameters are worth tweaking during playback, and how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn a lot about the synths and discover their true depth.

To recreate these patches, you need up to 15 patch cords.

There are audio examples of all patches inside the folder with the soundset. Audio examples for a patch are presented in three variants: DFAM only, M32 only, and both together.

The patches don't include Mother-32 patterns.

For the video demo, I added delay and reverb to the synths and background pads to put the timbres into a musical context.

CLICK FOR MORE »

pianissimo

video upload by Harmonic of Silence

Tasty Chips GR-1

x

video upload by Harmonic of Silence

#GR1
#granularsynthesizer
#tastychips_synth
#minimalmusic
#electronicmusic
#experimentalmusic
#abstract
#ambient
#drone
#synthesizer

- Existence -

video upload by Harmonic of Silence

#GR1 #granularsynthesizer #tastychips_synth

The Earth

video upload by Harmonic of Silence

#GR1
#granularsynthesizer
#tastychips_synth
#minimalmusic
#electronicmusic
#experimentalmusic
#abstract
#ambient
#drone
#synthesizer

Korg Wavestate 2: Modular Clouds 50 Generative Performances (Presets). Sound Demo/No Talking.

video upload by Anton Anru

"Modular Clouds" is a collection of 50 dreamy generative performances for Korg Wavestate. This is my one of the hardest works, I made a huge effort to create this soundset. Wavestate is a very complicated synth, and I dived deep into its features and possibilities.
🔋 Get the soundset: https://bit.ly/36FBL3S
Highlights:
☑️ Each performance is made from scratch: lanes, modulations, settings...
☑️ True wave sequence 2.0 synthesis, extensive and deep use of unique Wavestate features, that make the presets stand out from other synthesizers (subtractive, wavetable, FM...)
☑️ Thoroughly set parameters and complex modulation.
☑️ All 8 Performance Knobs/Macros are assigned to different parameters. They give changes from subtle to dramatic.
☑️ Vector Envelope adds movement. It has its own motion, and you may tweak it to change the timbre.
☑️ ModWheel add expression.
☑️ Making each performance took me about 60-90 minutes.
☑️ No external/additional samples are required.
☑️ Performances' volumes are equalized for a comfortable browsing.

CLICK FOR MORE »

Generative & Experimental Patches + Patterns for Behringer Crave. Ambient and Techno. Sound Demo

video upload by Anton Anru

"«Probability» is a collection of 20 generative patches and sequences. This genre of sound design is very popular inside modular culture, and Crave suggests a good set of features to enter this club.
Controlled chaos and randomness, probability, non-repetitiveness, tempo break, pattern uniqueness, short and long sounds alternation, unexpected changes, silence and density, harmonic and fx-like tones, freaky splashes during a sequence - all these things are included in the soundset.

📺 Behringer Crave - Probability (20 Generative Patches + Patterns)
📻 Behringer Crave - Progressive Soundset (35 Patches)
📠 Behringer Crave - Techno Jam (64 Patterns)
📷 Behringer Crave - Expressive Bass (10 Patches)
Everything is here: https://bit.ly/3dB9yho

Generative timbre may be a good addition to (or a lead part of) ambient or techno tracks, jams and performances. You may also record fragments into your DAW or sampler, slice it to one-shots or make loops - you’ll get a unique material for further processing.

All patches require a sequence playback, and, obviously, the sequence The soundset is provided with 20 patterns that were used in audio examples. You may use them in your production and performances, they are 100% royalty free. You may use them as a starting point and turn them into something new. Or, of course, you may create your own patterns from scratch.

Contents:
00:00 Voices
01:52 Long Journey
03:22 DFAM Beat
04:39 Wail
06:10 Equator
07:19 Reverie
08:57 Ruinous Vibe
09:52 Simbiosis
11:19 Fleetness
12:23 Renewal"

Generative & Experimental Patches for Moog Mother-32. Ambient & Techno Jam. Sound demo/No Talking.

video upload by Anton Anru

"«Probability» is a collection of 20 generative patches. This genre of sound design is very popular inside modular culture, and Mother-32 suggests a good set of features to enter this club.
🎧 Get the soundset: https://bit.ly/3x756yg

Controlled chaos and randomness, probability, non-repetitiveness, tempo break, pattern uniqueness, short and long sounds alternation, unexpected changes, silence and density, harmonic and fx-like tones, freaky splashes during a sequence - all these things are included in the soundset.

Generative timbre may be a good addition to (or a lead part of) ambient or techno tracks, jams and performances. You may also record fragments into your DAW or sampler, splice it to one-shots or make loops - you’ll get a unique material for further processing.
You need up to 10 patch cords to recreate the patches.

🔊 Mother-32 - Progressive (35 Patches), Probability (20 Patches), Expressive Bass (10 Patches), Cheat Sheet PDF
🎶 Subharmonicon - Undertones (50 Patches)
🥁 DFAM - Techno Generator (50 Patches)
Everything is here: https://bit.ly/3x756yg

Contents:
00:00 Voices
02:10 Ruinous Vibe
03:29 Reverie
04:31 Lamentation
05:51 Long Journey
06:53 Fleetness
08:12 DFAM Beat
09:38 Beat Crusher
11:06 Inflection
12:43 Mournful"

The Noise Floor of the Universe

MAKEN0ISE

"I love to make noise, and I am also keen to learn about the many ways in which noise makes me.

The observations in this video are not really anything new. If they strike any chord with you, here is some recommended further reading:

Pauline Oliveros, “Some Sound Observations” - perhaps the piece that kick-started my interest in the removal of boundaries between music and sound, sound and silence, listening and playing.

John Cage, Silence - among much other material this includes the famous story of a visit to an anechoic chamber where Cage was unable to hear “silence” because he could always hear the sounds of his own body.

Joe Allen, “Academic Archive Vol XII: The Soul of Hank Shocklee” - Shocklee discusses the unfound sounds and rhythms that emerge, consciously and otherwise, when multiple recordings are sampled and mixed together.

Eliane Radigue with Julia Eckhardt, Intermediary Spaces - Radigue discusses how underlying tones are a necessary bed for the harmonic explorations in her music to be heard, or even to exist.

Daphne Oram, An Individual Note - Oram spends the better part of her book using electronic music concepts as a sometimes clunky but always interesting extended metaphor for the human body.

George Lewis, "Improvising Tomorrow's Bodies: The Politics of Transduction" - Lewis argues for improvisation as key to "the foreshortening of distance between art and life."

http://www.makenoisemusic.com"

Godlyke TWA GD-02 Great Divide Multi-Voice Analog Synth Octaver

Note: Auction links are affiliate links for which the site may be compensated.
Published on Dec 8, 2013 Dennis Kayzer

via this auction

This one obviously falls under guitar synth effects. I thought it was interesting enough to post at least once. Note this is not a vintage item.

Full auction description follows:

"The Great Divide combines classic analog octave division with proprietary Synth technology to create one of the best-sounding, most versatile octave units ever made! It features five independent voices that can be continuously blended for a limitless array of sounds, from classic stompbox octave division to multi-layered, supersonic Synth mayhem!
The Great Divide is 100% analog – the circuit tracks incoming audio and subdivides the waveforms to create lower notes at varying intervals. The lower voices are monophonic, but can sometimes be coaxed into tracking double-stops (say please!). The GD’s Upper Octave voice is a form of harmonic distortion that can track polyphonically with eerie precision and often unpredictable results (ring mod, anyone?).

By blending voices at various levels, an absolutely limitless variety of super-sick, super-FAT, super-sexy Synth and octave sounds can be created and deployed to beat your audiences’ booty into submission.

Make your guitar sound like a Bass; an Arp; a Harp; a Hammond – whatever. Make your Bass sound like a Moog; a Guitar; a Moog Guitar or an asteroid hitting the Earth’s atmosphere – you get the idea…

For even more tonal options, patch in an external pedal via the TRS effects loop and control it with the Great Divide! OR, use an expression pedal to control the GD’s output level for gorgeous Synth pad volume swells and other assorted mayhem.

WORDS SIMPLY CANNOT DESCRIBE THIS PEDAL – Watch the videos and see for yourself, but please note that these samples are just the tip of a Titanic-tanking iceberg of tone. Now –GO GET SOME!!!

CONTROLS

The Great Divide features the following controls:
Dry Level Fader
-1 Octave Level Fader
+1 Octave Level Fader
+1 Octave Envelope Switch (sort of like Synth resonance, or maybe a cosmic death-ray)
SUB Level Fader & Switch with 4 Selectable voices ( -1, -1.5, -2 or -2.6)
SYN Level Fader & Clock with 5 Selectable Voices (0, -1, -1.5, -2, -2.6)
SYN waveform switch w/4 options (Saw/Pulse, Chopped Saw/Pulse, Square, Modulated Square)
Cross-modulation option for -1 OCT (tracks SUB clock)
Raw clock option for SUB voice (think MASSIVE, vulgar square wave)

CLICK FOR MORE »

Elby Designs CGS775 Serge VCS Voltage Controlled Slope Module

via this auction
Perfect Circuit Audio (RSS)

"The CGS775 Serge VCS (Voltage Controlled Slope) is an extremely versatile module capable of many useful functions.

The VCS is a unity gain voltage follower. The rising and falling slopes are independently and jointly voltage controllable over a wide range. The module provides an incedible amount of possible functions.

Slew time can be set separately for rise or fall and be modulated by a control voltage. Separate inputs for rise and fall modulation and also a common input. The modulation controls are bipolar and can be toggled between linear or non-linear behavior. A trigger on trigger input fires an envelope while a gate holds sustain. After a cycle of the envelope a gate signal is generated at the end-out. The cycle switch connects the end-out with the trigger in so the VCS can loop itself and act as an oscillator which frequency can be controlled via the Exp-CV jack. Manual control of waveform with the rise / fall controls. If an audio signal is fed into the module, the pots act as waveshape or cutoff controls.

Some possible functions:

VC Transient Envelope Generator: A pulse at the trigger input will start the envelope, or a gate input will sustain the level and the envelope will fall when the gate goes low. Rise and fall are independently and jointly voltage controllable, with variable linear and exponential wave shapes.

VC Portamento: Voltage is slewed according to the rise and fall times.

VC LFO: When the cycle switch is thrown, the trigger input is connected internally to the end trigger output, creating a VC clock with variable waveform and independent rise and fall times.

VC Oscillator: While not as wide ranged, or accurate as a dedicated oscillator module, the VCS is still an excellent audio source. The Exp CV input is scaled approximately to the 1v/oct standard. The Output wave can be swept from triangle to saw with linear and non-linear waveforms. End Out also produces a pulse waveform.

VC Non-Linear Audio Processor (Low-Pass Gate): If an audio rate signal is slewed, the module responds like a VCF, and a rough VCA. The signal is low-pass filtered down to silence, similar to a low-pass gate.

Envelope Follower: Positive and negative peak detection envelope follower.

VC Pulse Delay: Trigger input starts the envelope and a trigger will be produced again at the End Out when the envelope completes its cycle.

Sub-Harmonic Generator: If a series of triggers are applied to the VCS faster than the total rise and fall times, the module will divide the incoming signal by a whole number. In the audio range the output will be the sub-harmonic series.

Features

Input
AC Out: AC-coupled output, best for audio rate
Output
Output LED inidicator
End Out: Outputs gate at the end of each cycle
Trigger Input
Cycle switch: When engaged the module acts as an oscillator
Rise time knob
Fall time knob
VC Rise, Fall, and Both inputs
VC Rise and Fall level knobs: Bi-polar knobs which maybe be pulled to switch from linear to non-linear
Exp CV input: Approximately 1V/Octave"

Bananalogue Serge VCS

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

via this auction

"Bananalogue Serge VCS Synth Module For FracRack or Blacet Style Mounting Rack. Getting hard to find these in FracRack format. Same rack format as Blacet, Paia and several others, but comes with a Blacet style power connector. Could be changed over if needed.

The Serge VCS module released in from bananalogue.com is an extremely versatile control voltage generator and audio source. In the early 1970s, Serge Tcherepnin developed the Positive Slew and Negative Slew modules for the original Serge synthesizer. In time these merged into the classic Dual Universal Slope Generator. The Bananalogue VCS is an adaptation of Serge's original circuit with a few new features.

The VCS is a unity gain voltage follower. The rising and falling slopes are independently and jointly voltage controllable over a wide range.


VC Transient Envelope Generator

A pulse at the trigger input will start the envelope, or a gate input will sustain the level and the envelope will fall when the gate goes low. Rise and fall are independently and jointly voltage controllable, with variable linear and exponential wave shapes.

VC Portamento

Voltage is slewed according to the rise and fall times.

VC LFO

When the cycle switch is thrown, the trigger input is connected internally to the end trigger output, creating a VC clock with variable waveform and independent rise and fall times.

VC Oscillator

While not as wide ranged, or accurate as a dedicated oscillator module, the VCS is still an excellent audio source. The Exp CV input is scaled approximately to the 1v/oct standard. The Output wave can be swept from triangle to saw with linear and non-linear waveforms. End Out also produces a pulse waveform.

VC Non-Linear Audio Processor (Low-Pass Gate)

If an audio rate signal is slewed, the module responds like a VCF, and a rough VCA. The signal is low-pass filtered down to silence, similar to a low-pass gate.

Envelope Follower

Positive and negative peak detection envelope follower.

VC Pulse Delay

Trigger input starts the envelope and a trigger will be produced again at the End Out when the envelope completes its cycle.

Sub-Harmonic Generator

If a series of triggers are applied to the VCS faster than the total rise and fall times, the module will divide the incoming signal by a whole number. In the audio range the output will be the sub-harmonic series."