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 »

Pendulate by Newfangled Audio - Tame the chaos! (Demo and tutorial)

video upload by CatSynth TV

"Pendulate is a free virtual instrument from Newfangled audio based that blends and oscillator based on the chaotic physics of a double pendulum with a Buchla-style wavefolder and low-pass gate from 'west coast synthesis'.

00:00 Introduction
00:38 Double pendulum physics and chaos
01:16 Overview of Pendulate
02:13 The Double Pendulum Oscillator
07:37 The Wavefolder
10:25 Wavefolder and Chaos
11:39 The Low Pass Gate
14:31 Factory Presets

To find out more, please visit https://www.newfangledaudio.com/pendu...

'Pendulate is a chaotic monosynth that uses a brand new double-pendulum-oscillator to create previously unheard sounds - biting basses, searing leads, and gritty textures. It can smoothly fade from a sine wave to total chaos, with an expanse of territory to explore in between.'

For another chaotic synthesizer, please check out our review of KULT from Tracktion & Dawsome [posted here]

___
Please consider supporting this channel to help us bring you more synthesizer tutorials and other content.
Merch: https://shop.catsynth.com
Patreon: https://www.patreon.com/catsynth
Ko-Fi: https://ko-fi.com/catsynth"

"Bored of the same old synth sounds? Newfangled Audio's Pendulate is refreshingly different. Pendulate is a chaotic monosynth that uses a brand new double-pendulum-oscillator to create previously unheard sounds - biting basses, searing leads, and gritty textures. It can smoothly fade from a sine wave to total chaos, with an expanse of territory to explore in between.

CREATE THE CHAOS
Pendulate’s chaotic oscillator is based on the physics of a double pendulum. What initially looks like randomness contains underlying patterns, interconnectedness, constant feedback loops, repetition, self-similarity, fractals, and self-organization. When designing the Pendulate oscillator we took great care to bring out these underlying patterns to create something both chaotic and musical.

CLICK FOR MORE »

Patching in TB Lowtone

video upload by boxoftextures

"New synth from Toneboosters, makers of Flowtones. But this is Lowtone, which they're calling an innovative bass synthesizer plug-in. TB says they're using loudness-domain harmonic synthesis in Lowtone, which is aimed at making in their words 'deeper, more consistent and production-ready bass sounds.' I haven't made any specifically bass-y patches yet but I've had a blast programming things. It has three VCOs but also a VCN, a voltage controlled noise generator, which was great fun to play with. The three VCOs have dozens of waveform variations, and there are a pile of different filter types as well. There are two xLFOs, X for extended, which I think go all the way down to 0.01 Hz (!). There's also a gate section, which is kind of like a sequencer for modulations. You can maybe use it like a regular sequencer if you like, although I haven't had a chance to try that yet, but each step can have its own shapes, giving you a lot of different sound-shaping options.

I've only made a handful of patches so far but have had great fun making them. A couple of 'normal' sounds, one haunting rhythmic drone-ish thing which I find totally mesmerizing, and one batch of absolute chaos using only the VCN as a sound source (LOL).

This particular video was done using Lowtone on the iPad, but there's also a Mac/Windows version as well so you should be able to transfer patches back and forth as needed.

Great fun, highly recommended.

Stuff use
d TB Lowtone - https://www.toneboosters.com/tb_lowto...
ScreenFlow - https://www.telestream.net/screenflow...

Mastodon: https://vmst.io/@selgart
Twitter: https://twitter.com/selgart
Patreon: https://www.patreon.com/boxoftextures"

The Ciat Lonbarde Peterlin - Peter Blasser Meets Benjolin

Chaos Patterns with the Ciat-Lonbarde Benjolin / Peterlin Synthesizer

video upload by Duskmos

Note the "Peterlin" made it's first appearance with Hainbach on May 7 here on MATRIXSYNTH. This post features a few examples from others, and additional details and pics below.

Above: "In this Signal Colors Palette video, I'm taking a first look at the Ciat-Lonbarde Benjolin / Peterlin, a tiny wooden synth featuring a nod to synthesis history by putting the focus on sound creation with a circuit design inspired by the 'Rungler' by Rob Hordijk.

Hang out while I coax some cool sounds from this wildly experimental sounding synth!"

Quirky little groove machine: Ciat-Lonbarde Peterlin first impressions

video upload by NoctopolisMusic

"Listen to albums, download tracks and support me at https://noctopolis.bandcamp.com/
I was lucky to get a Ciat-Lonbarde Peterlin (why not Blassolin though?) from the first batch at PatchPoint and these are clips from my first don´t-know-what-I-do-sessions with it. First one: solo. Second one: with Lorre Mill Double Knot 3. Third one: with Moog Subharmonicon."

Ciat Lonbarde Peterlin meets Serge VC Resonant Equalizer

video upload by La Synthèse Humaine

This is the first post to feature the Peterlin.

"first patch ring modulates peterlin xor to vcfq with a sine wave - both controlled by rungler. this is mixed with the peterlin audio output in the vc res eq and its bands get modulated by various peterlin outputs

second and third patches have a bit less and a bit more going on... all gets a little confusing and knotted up

check out my newest album Contraluz here: https://critiqueofeverydaylife.bandca..."

"Dressed in their signature banana jack-laden wooden enclosure, the Peterlin is Ciat-Lonbarde's take on the Benjolin: a tribute to the synthesizer designs of Rob Hordijk. Deceptively simple in appearance, the Peterlin is a highly interconnected instrument containing two oscillators, a resonant lowpass filter, and Peter Blasser's take on the infamous Rungler circuit. Clocked by one oscillator, the Rungler is a shift register feeding upon not only its own output, but also listening to the output of the other oscillator to further influence its data with feedback chaos. As the Rungler's CV output is then fed into the oscillators and filter, a range of hefty drones and chaotic noise is possible. Of course, the Ciat-Lonbarde take on this classic experimental instrument is filled with its own mysteries.

CLICK FOR MORE »

Instruoducing: Instruō - àradh and tágh

video upload by Instruō

Additional videos below.

"Announcement time!

Here are two new old modules :) I have been trying to get these in production for quite some time now. Delays in supply chain forced these to the background for too long.

àradh is a new take on a transistor ladder filter and fills the role of fat "East" Coast subtractive filter as well as adding a dedicated low-pass gate (LPG) to the Instruō range. Plus some other quirks!

tágh is not a V2 but is in fact the OG module that I had in mind for the name a long time ago. It's a 4HP powerhouse of modulation sources and clock utilities.

Please check out the full Overview videos for both àradh and tágh now :) [below]

In addition I would like to introduce the first production range of Instruō spacer panels. Available now are 1HP, 2HP, 4HP, 6HP, 8HP, 10HP, 12HP and a very special limited run of 14HP.

The 14HP panel features a glorious picture of my Greyhound Winston wearing his jammies. https://gal.org.uk/
"GAL is a registered charity in Scotland (SC031027) that rescues and rehomes Greyhounds and Lurchers throughout Scotland. "
A donation of £7.50 will be made to GAL for every panel sold from the limited batch.

Hope to see you all at Superbooth this year!
Cheers
~Jason

00:00:00 Instruōduction
00:00:26 àradh
00:03:10 tágh
00:05:53 Spacer Panels
00:07:00 Winston panel"

Instruō - àradh Overview

video upload by Instruō

Here is the àradh.
tràigh again!

By popular demand – an exciting new take on the legendary transistor ladder filter. Introducing the Instruō àradh, the long-awaited successor to the first Instruō low pass filter, tràigh. Expanding on tràigh’s classic functionality, àradh adds a VCA with pre or post-filter routing options, an envelope follower, a comparator gate, a strike input with variable decay time, and a plethora of user-definable voltage-controlled parameter combinations.

Whether you’re looking for voltage-controlled resonance, pre-gain filter saturation, noise gate functionality, dynamics processing, or even an envelope follower, àradh can get the job done – a true sound-shaping powerhouse in only 6 HP.

• Low pass filter and VCA
• VCA pre/post-filter routing options
• Strike input and button
• User-defined CV input
• Envelope follower and comparator functionality
• Self-oscillating resonance

00:00:00 Instruōduction
00:00:27 Design Concepts
00:03:13 Quick Reference - Module Initialisation
00:04:48 Overview - Subtractive LPF
00:05:45 Overview - I/O
00:06:04 Overview - VCA Pre/Post LPF
00:06:34 Overview - Filter Controls
00:09:02 Overview - CV Input
00:10:23 Overview - Primary Parameters
00:12:50 Overview - Secondary Parameters
00:14:23 Overview - Decay Envelope
00:16:10 Overview - Pre/Post Definition
00:17:31 Overview - Gate/Follow
00:21:47 LPF - "East" Coast
00:52:16 LPG - "West" Coast
01:07:34 Dynamics Management

Instruō - tágh Overview

video upload by Instruō

You can find the initial overview video from back in 2021 here, and a few user videos in additional posts here.

"This is a module I've wanted to release for years!

The Instruō tágh is a “Swiss Army Knife” modulation source. It features an analogue sample and hold, white noise generator, digital random voltage generator, morphing LFO, and probabilistic trigger generator, all with a unique phase-adaptive tap tempo functionality.

After many iterations of random voltage generation experiments, tágh’s 6 algorithms were meticulously curated to meet the needs of the designer. Once realised, it was quick to see its importance in small and big systems alike. These 6 random algorithms include Classic Stepped Random, Repeatable Stepped Random, Chaos, LFO, Probability-Synced LFO, and Downsampled LFO.

At only 4 HP, tágh is a true modulation workhorse.

• Analogue sample and hold
• Analogue white noise generator
• Six digital random voltage algorithms
• Built-in bias and attenuation controls
• Smart tap tempo follower with manual button
• Steady and rhythmically-relevant clock generator
• Internal or external clock options of analogue sample and hold

00:00:00 Instruōduction
00:01:46 Overview
00:04:56 Clocking
00:06:55 Clocking - Probability
00:07:50 Clocking - Tap Tempo
00:09:54 Clocking - External Tap Tempo
00:13:58 Clocking - Internal Clock
00:17:11 Tempo Follow
00:21:24 Tempo Follow - Adaptive Phase
00:22:50 Tempo Follow - Probability + Phase Sync
00:28:48 Patch Example - Lubadh Sync
00:35:20 Patch Example - Analogue Sample Rate
00:40:25 Patch Example - Random CV pan
00:42:37 Algorithm 1 - Classic stepped random
00:58:31 Algorithm 2 - Repeatable steps
01:09:41 Algorithm 3 - Chaos
01:22:08 Algorithm 4 - LFO
01:33:04 Algorithm 5 - Probability-synced LFO
01:40:50 Algorithm 6 - Downsampled LFO"

INTRECCI - MODULAR AMBIENT [PAM-CHAOS CLANK-PLAITS-ENOSC-258T ]

video upload by leonardoworx

"In this patch i played a lot with the amazing Chaos Clank and Pam's New Workout, in order to achieve an interaction between the MI Plaits, 4MS Ensemble Oscillator and TipTop/Buchla 258t.
A lot of modulations, generative sequences, happen in this ambient/meditative patch also with the addition of Instruo Ochd.

Hope you like!"

Arturia Introduces MiniFreak 6-voice Algorithmic Synthesizer

MiniFreak | Algorithmic Synthesizer | ARTURIA video upload by Arturia

Tutorials | MiniFreak - Overview

video upload by Arturia

"In this tutorial, take a tour through MiniFreak's features, hidden talents, and wild sounds, as Matt Pike gives you the lowdown on the 6-voice hybrid #polysynth that's out to break all the rules.

_CHAPTERS
00:00 Intro
01:03 Presets Playing
02:27 Oscillators
03:40 Virtual Analog Engine
04:41 FM Engine
05:50 FM Modulation
07:04 Analog Filter
07:35 Modulation Matrix
10:13 Digital Effects
12:02 Sliders
13:30 Sequencer & Arpeggiator
14:51 Sound Edit & Utilities" Arturia MiniFreak: 5 things you need to know (+ no-talking sound demo)
video upload by MusicRadar Tech

Review: Arturia MiniFreak // vs MicroFreak // Everything covered, including almost all 256 presets

video upload by loopop

TIMELINE:
0:00 Intro
1:25 vs MicroFreak
6:30 Connectivity
7:35 Workflow
8:55 Osc controls
10:30 Osc 1 engines
14:05 Audio in
14:30 Oscillator 2
15:05 FM/RM
16:05 Digital filters
19:00 Destroy frog
19:50 Analog filter
21:30 Digital FX
25:40 Envelopes
27:45 LFOs
29:05 Waveshaping
30:20 LFO as env
30:40 Vibrato LFO
31:10 Mod matrix
34:00 Macros
34:55 Arpeggiator
38:10 Spice & dice
39:10 Sequencer
43:40 Automation
45:45 Voice modes
46:40 Paraphony
48:20 Chord & scale
48:44 Hidden gems
50:10 Pros & cons
53:50 Almost all 250 presets!

Arturia MiniFreak - First Look - Sonic LAB

video upload by sonicstate

"Today's the day for the big Arturia announcements - and the one we have most experience of is the new MiniFreak which is an expanded MicroFreak - (the Algorithmic Synthesizer with multiple oscillator types).

The MiniFreak doubles up the Oscillators to two - with 20 oscillator types on board, keeps the multi-mode analog filter and adds 3, quality, digital FX. It also has a physical 37 key keybed (short travel) with aftertouch. There's two control strips which can do pitch/mod or macro 1/2, each with four destinations or a sequencer/gate control for the on board sequencer.

It also comes with a free VST version MiniFreak V

We fully confess that we didn't get the time to do the full review in time for this deadline, but first impressions are pretty positive."

arturia minifreak performance

video upload by Red Means Recording Ambient

"first time performing with the arturia minifreak. this is the patch 'Trent's Pno' I made for the factory presets. this is also the last patch in my current house, as i will be moving. see you in november!"

@Arturia MiniFreak Introduction, Unboxing & Demo | No Talking
video upload by DKS SYNTH LAB

Priced at 599€ / $599, available today.

See the dealers on the right for availibility.

via Arturia

Arturia expands wild hybrid synth range with 6-voice MiniFreak

MiniFreak is a polyphonic hybrid keyboard that combines two digital sound engines with warm analog filters, playful modulation, spontaneous sequencing, and rich stereo effects for sounds that are immediately curious, beautiful, and chaotic in equal measure.

Hybrid polysynth power
MiniFreak’s twin digital sound engines feature over 20 modes, and can be used individually, stacked, or to process each other’s output for unique compound sonic behavior. Its digital voices then collide with analog filters, balancing digital crispness with a rich analog response, complete with 6-voice polyphony, 12-voice paraphony, monophonic, and unison configurations.

Customizable & experimental sound design
MiniFreak’s expanded modulation matrix gives users even more control over shaping, transforming, and evolving their sound, with features like polyphonic ADSR envelopes, customizable multi-segment LFO shapes, FM & Ring Modulation, and the familiar Spice & Dice randomization.

Mix-ready stereo sound
With stereo outputs and 3 digital FX slots with 10 FX types to choose from, users will have everything they need to push their sound over the edge while keeping it mix-ready, from stereo-enhancing chorus, to surgical 3-band EQ, to gritty distortion.

Expression, meet chaos
Despite its penchant for wild & exploratory sound design, MiniFreak is an instrument of expression. Its velocity-sensitive 37-note keybed with aftertouch and spontaneous Seq/Arp functionality makes it a dream to perform with, while its randomization features put playfulness first.

MiniFreak V
MiniFreak comes with a dedicated VST counterpart, letting users totally integrate its unique hybrid sound and presets into their DAW productions and vice versa. Using identical sound engines, modeled filters, presets, and totally synchronized controls, users can enjoy an identical experience in hardware or software form.

And the press pics.

Click on each to zoom in.

CLICK FOR MORE »

Magerit Eurorack Modules

Magerit LANIAKEA - A "cosmic" oscillator - New Release video upload by Magerit

CLICK FOR MORE »

Moon Modular sequential switch and ratcheting 5U modular synthesizer experiment.

video upload by I like the Chaos.

"I am enjoying the Moon Modular Sequential switch. I am using it to string patterns together from my Synthesizers dotcom Q119 Sequencer and my Encore Electronics Universal Event Generator. The main bass line is a DIY Ian Fritz DoubleDeka VCO through an STG Soundlabs Sea Devils filter. There are also Corsynth drum modules prominent in the mix. There is a lot more going on as well. Much of it was experiments that did not add to the sound when prominent, but added interest to me when lower in the mix and triggered occasionally. This started out sounding a bit like Devo, but as it progressed seemed to add in some Adrian Belew era King Crimson, and now it barely sounds like either.

I may do a demo of the Universal Event Generator soon. A tip in the meantime, try patching the Trigger out into the trigger in and experiment with the different settings, especially finish loop. You may have to hit the manual gate button to get it started, but that little tip was something I had not thought of until I spent some time with some Serge Modules."

ReSynthesizer (Autonomous Synthesizer Installation at MIT's PSFC, Spring/Summer 2018)

video upload by ParadisoModular

"In December of 2017, as part of the 50’th anniversary celebration for MIT’s CAVS (Center for Advanced Visual Studies), I was invited to install my large, custom built-and-designed modular synthesizer system into the experimental hall where Alcator C-Mod was residing, MIT’s most recent tokamak reactor used in plasma fusion research. Known as being a pioneering melting pot for art and technology during the 60s, 70s and 80s, the CAVS was a place where scientific fields like physics would commune with performance and music. Modular synthesizers, as used there by early adopters like Paul Earls, were part of the Center’s original vernacular, and after many decades they are being enthusiastically re-discovered, re-embraced, and in many way re-invented by the current young generation of electronic musicians. Such reflected synergy into the present led to my invitation (as well as this installation’s name), as did the match between the aesthetic and technical grandeur of a large heavily-patched modular synthesizer and the huge mélange of custom, elegantly-kludged electro-mechanical systems that surrounded the tokamak. Similarly, the researchers’ quest to manage the chaotic nature of an energetic plasma (as expressed inside the tokamak’s torus during the peak of plasma confinement) resonated with my efforts to ‘sculpt’ my autonomous and likewise chaotic huge synthesizer patch into a definable aesthetic.

As I have my PhD in high-energy physics (having worked at CERN at various times between the late 70s and early 90s) in addition to having designed, built, and used electronic music systems of various sorts over the last 45 years, I was anticipating having access to actual Alcator data and using it in the patch that I would compose when the installation would go live in late March of 2018. My plasma physics colleagues resonated with this idea, and I was provided with several waveforms coming from various sensors on the tokamak acquired during its record-breaking run from a few years ago, when Alcator C-Mod had attained the largest recorded plasma pressure. Listening to this data as audio, I was immediately transfixed. This didn’t sound like bland digital noise, but instead felt alive – some strange kind of muted rattlesnake here, burbling life forms on a weird water planet there, perhaps other samples evoked the barely scrutable control room of an alien spaceship. These sounds, played at various rates and filtered into audible bands, were strongly otherworldly. This dictated the flavor that I’d strive for in my patched composition. Accordingly, I loaded banks of Alcator’s waveforms into an array of Eurorack samplers that I could control from processes running in my synthesizer. While most of these signals were used as direct audio, some were adopted for modulation envelopes and slow control – the tokamak cycle exhibited a variably noisy build-and-release structure as the magnetic fields were ramped up to concentrate the plasma before it went terminally unstable, which worked well here.

My patch evolved considerably during the installation, which ran from late April through late August of 2018. I worked on it weekly, and it achieved its ultimate balance between form and complexity by the beginning of July. At the end, I used every patch cord that I owned (on the order of 700) and nearly all modules in the synth, in addition to an assortment of outboard effects and commercial Eurorack modules that I coaxed to work with my system. Towards the end, when I was starting to run out of cords and hardware capacity, I resorted to kludging in simple wires and electrical components hanging in the air between modules to attain effects and sounds that I still wanted but didn’t have the modules available to make. This was the most extensive and ambitious synthesizer patch that I’ve yet composed – it pushed me to extremes of being simultaneously a composer, synthesizer musician, engineer, and scientist. Having designed, built or custom-modified nearly everything in my setup creates a special rapport for me that goes deeper than interaction with commercial synthesizer equipment – my system has its own unique capabilities and quirks that reflect my personal audio nuances and what I want to achieve with them.

At various stages during the 4-month run of this installation, I digitally recorded the patch’s stereo mix – in all, I have archived probably on the order of 60 hours of audio. The excerpts provided in this video all came from different sections of this long set of recordings. Aside from cross-fading between different excerpts, there was no manual intervention or overdubbing in these clips – the sound was made entirely from the patch running on its own after I set it on its way, with updates and augmentations I made every week or two based on ideas I got while listening to it stream online. The video also features a brief example of some of the raw plasma data sounds that I used."

And in the studio:

Synth Patch For Chaos Unit, Sitar Pedal, and NightSky'ed Keyboard (August 2021)

video upload by ParadisoModular

"In the summer of 2021, I put in a synth patch to test out my newly-arrived Sitar Pedal as well commemorate the tweaking/repair of my voltage-controlled chaos module. This was a very simple patch compared to my usual - nothing too deep or thought out, and the master sequence is a bit shallow - but it has its vibe. Plus, at 2:30 in, I added a keyboard line over what the patch was doing. This was all live - the synth patch ran autonomously and I just recorded as I played - no preparation, overdubbing, or refinement here - hence it's raw and not even close to what I'd term finished or a 'demo' - but I kinda like its intrinsic 'hopeful' feel.

The basic sequence is running through the sitar pedal, which locks on fine (it can separate the drone sounds and re-synthesized lead into separate channels). I'm running a fixed tone also through my chaos generator, which I move in a complex way into and out of stability - it locks onto subharmonics or devolves totally/partially into noise as it sweeps. This sound goes through several signal processing paths that periodically fade in, involving filters, unstable phase-locked loops, and a Boss guitar synthesizer pedal (which does wonderfully noisy gyrations as it tries to lock onto the chaos signal between stable moments).

At that time, as opposed to collecting Eurorack modules, I was slowly accumulating and modifying pedals - pedals are all about modifying an input sound in interesting ways, and which generally appeals to me (I hack them, of course, to accept voltage control in different ways).

The only keyboard sound here (aside from one chord and arpeggio at the end) is from the little cheezebox Casio 'toy' that the Minskys gave me at a Media Lab event some years ago - I abandoned my more sophisticated synths for this one in this piece, as it fits easily on your lap (that's how I played it in the excerpt here) and it sounds amazing if you feed it through one of the new complex reverb/echo/delay pedals like the NightSky or Micropitch (those pedals can put any sound into an evocative space).

The video is indeed of this patch and me playing atop it (shot while I was holding the phone in my other hand), but it's not the live segment that you hear in the piece, so pardon if things don't line up entirely, but you get the vibe.

OK - I figured I'd let this one get a bit of air in case it hits some resonance... It radiates a bit of melancholic positivity, which is something we all relate to these days."

The Bizarre Beauty Of The Stuber

video upload by HAINBACH

"Peter Blasser's Instruments have been central to my music and live performances for a long time. His Ciat-Lonbarde series is both mystifying and rewarding, balancing chaos and lush sound beautifully. With the Din Datin Dudero edition of oval instruments he has created something even more elusive: what looks like the result of a surfboard and a CDJ getting cozy in a woodshop, the Stuber stereo analog filter instrument is both intuitive and an enigma.

I explored it over the course of ten days, writing 18 tracks for a new album with it as a center piece. I can't claim I am fully aware of how it works, mastery of it is something that needs a long time of practice, but I have fallen in love with it, like with all of Peter's instruments before."

FREE PO-33 KIT: TB-303 Acid sample kit | for Teenage Engineering PO-33 & PO-133

video upload by CNTR RNDM

"Hey, my name is Christian and I have a confession to make...I love ACID music! Over the past few years, I was involved in quite a few acid projects, such as 303 Addict, Stoney Broke Weirdos, Acid Traxx...blah, blah, who cares, right? Anyway, boomer-mode on: when I started out making acid techno, it was all about tracksuits, warehouse raves, you know all that good stuff. However, for me, acid-clubbing was never about taking pills or drinking till you pass out or whatever...I always wanted to know what gear the live acts were using, how they were performing and stuff. I always hated polished disco stuff...I was all about this raw, unpolished, acidy kind of stuff. And you know what? I still remember the first real acid gig I went to, the night I fell in love with acid music, so to say...I don't know which year it was or anything but - nevertheless - I have a super vivid memory of that particular night. So I and a couple of my mates went to this super tiny club in Duisburg called Chism (RIP Chism♥️)...we had heard good things about it but we had never been there...anyway, when we arrived, there was an old man giving out glowsticks and I was like "ok, that's weird but hey, who doesn't love glowsticks, right?"...anyway, we went in and the club was jam-packed, sweat was dripping from the ceiling, the crowd was super rowdy and aggressive (but in a positive way) and Robert Babicz aka Rob Acid was tearing the flipping walls down...it was bloody amazing...so, there was no stage or anything...he had all this gear like in the middle of the dancefloor on a folding table and there was nothing but chaos and mayhem around him...I don't know how he felt that very moment but he looked super cool and calm and played this awesome live set! Thanks for this memory Herr Babicz, Na Zdrowie! Kocham cię, mój przyjaciel!

Ok, I'm going off on a tangent here...sorry about that. You're probably here for the PO-33 kit so let me tell you a bit about it. For this PO-33 kit, I recorded both 303 loops and one-shots using Roland's TB-3 and D16's AMAZING Phoscyon plugin. The one-shots all come from the TB-3 and have been stored in the drum banks. The first two drum banks are arranged as follows:
Pads 1-4, C, all one-shots varying in intensity
Pads 5-8, D, all one-shots varying in intensity
Pads 9-12, G, all one-shots varying in intensity
Pads 12-16, A, all one-shots varying in intensity

The one-shots in the last drum bank have been arranged randomly.
You can download the FREE backup file here:
https://cntrlldrndmnss.gumroad.com/l/...

While we're at it, why don’t you grab my free drums sample pack as well:
https://cntrlldrndmnss.gumroad.com/l/...

Feel free to check my other packs on gumroad as well:
https://cntrlldrndmnss.gumroad.com

All my samples and kits are copyright free - you can use them in your own productions, videos, whatever. The main thing is: have fun with this kit (or any of my other kits or packs)!!!"

Eurorack jam featuring Metropolix, Manis Iteritas, Prok Drums, Zen Delay, and electric guitar

video upload by Jay Hosking

"A live, semi-improvised modular performance performed entirely on hardware, with one guitar overdub.

This jam started with a simple exploration of the Intellijel Metropolix, a neat sequencer that helps you stumble into inspiration, along with two voices (the Noise Engineering Manis Iteritas and the Acid Rain Chainsaw). My ambitions were no more than "play guitar with eurorack". But as the song found itself, and more and more was added to the table, it became clear I'd have to add guitar after the the fact.

A big highlight here is the Prok Drum modules being sequenced by the Mutable Instruments Grids. Not only is Grids fast and inspiring, but its modulation allows you to add performability (like the snare rolls I add via a touch pad here) and variety (through its chaos and frequency controls). Special thanks to Michael, a good human and also a member of my Patreon community, for allowing me to commission him to build the Prok modules! You're the best, Michael.

And of course, the Erica Synths Zen Delay works its magic again. Here, it runs everywhere from flanger to filter to gonzo delay, and I just love what it adds to a jam.

The patches would take a very long time to explain, but here are the modules:

Voices:
- Noise Engineering Manis Iteritas
- Squarp Rample
- Acid Rain Chainsaw
- Qu-Bit Chord
- Frequency Central Product
- Prok drum modules

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Dune Soundtrack The One Hans Zimmer Cover all analog synthesizers, Moog, ARP-2600, Soma Lyra-8, DFAM

video upload by EthanJamesMusic

"This is a synthwave cover of the soundtrack for The One by Hans Zimmer from the movie Dune. I wanted to see if it was possible to get somewhat close to the spirit of the music using only analog electronic synthesizers with guitar. I am using some Eurorack modular with a Buchla Easel Command and Soma Labs Lyra-8 to create the drone, while the Moog Grandmother is covering the low brass parts, and the ARP-2600 is covering the string (cello and bass) parts. I'm using the Moog DFAM to cover the low drum hits. Finally, I'm using the Sequential Circuits OB-6 to do the end high strings.

I hope you enjoy! This was a fun exercise in sound design and trying to get the spirit of the orchestra into an analog synth orchestra idea."

"If you enjoyed this, please consider supporting my Patreon: https://www.patreon.com/ethanjamesmusic

Patch Notes:

Eurorack modular:
Instruo CS-L: using final outputs of both oscillators to a Make Noise Optomix to filter some of the high frequencies. The symmetry of both oscillators is being randomized by fluctuating voltage from a Frap Tools Sapèl.
Random Source Serge New Timbral Oscillator saw output to Serge Variable Frequency VCF. Low pass output to mixer. Filter frequency is being modulated by a Zlob modular Diode Chaos, while Q gain is being modulated by a Make Noise Wogglebug stepped output.
Make Noise Morphagene has a guitar loop playing D, and I'm using the knobs to make things change. Audio to an After Later Audio Monsoon (Clouds clone).
Make Noise Erbeverb in feedback mode to mixer.
All Eurorack audio to an Eventide H9 pedal doing reverb.

Soma Labs Lya-8 is in full drone mode with Hold turned all the way up. Most oscillators tuned close to a D with some variation. Audio is going to a Make Noise X-Pan modulated by an Intellijel Quadrax.

Buchla 208c Easel Command is providing more pulse-like ambience with random voltage changing the timbre very quickly. Audio to Make Noise X-Pan.

Moog Grandmother normalled patch with very slow attack and decay that is also assigned to the filter.

Moog DFAM using a very long decay with the two oscillators tuned a half step apart. Oscillator 2 has very low volume, so it's mostly contributing the attack sound.

ARP-2600 normalled patch with moderate ADSR modulation of the filter.

Sequential Circuits OB-6 using a polysaw sound being controlled by the Novation Bassstation II."

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.

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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 CodeParade

"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..."

Zlob Introduces the VC F3DB Fixed Filter Bank Eurorack Module

What is a Fixed Filter Bank? | Chaos + Control with Zlob VC F3DBvideo upload by Sarah Belle Reid

"In this video, we explore the history of fixed filter banks in synthesizers (what they are, how they work), demonstrate some classic fixed filter bank concepts, and then dive into a series of patch examples exploring the Zlob Modular VC F3DB.

Zlob Modular's VC F3DB is a filter bank for Eurorack modular synthesizers. But it's much more than just that as well; while it can produce the clean, dry, nasal tones you might expect from a classic Moog or Buchla filter bank, it is designed to leverage feedback, clipping, and per-band envelope followers, allowing it to act as a chaotic sound source, spectral decoder, and intense distortion.

To access extended audio from this video (aaand there's a lot of it!), check out my Patreon page! You're free to use these sounds as materials for you own music, as well:
www.patreon.com/sarahbellereid

Video Timestamps:
00:00 Intro + Video Overview
01:40 What's A Fixed Filter Bank?
03:36 What's a Filter Bank Good For?
07:42 F3DB Module Overview
09:53 Patch #1: Clipping
11:37 Patch #2: Adding Modulation
16:00 Patch #3: Feedback
19:48 Patch #4: Feedback (But Less Crazy This Time)
22:00 Patch #5: Feedback with Modulation
24:43 Patch #6: Spectral Decoder"
Zlob VC F3DB First Look video upload by Brett Naucke

"A first look at this fantastic new 6-Band Voltage Controlled Filterbank by Zlob Modular. Patch examples including manual filtering, drum processing, voltage controlled filter animation, 'vocoding' and some exploitations using the filterbank as a chaotic audio source. This is a GREAT filterbank capable of some very unique overdrive and distortion functions that set it apart from all other filterbanks in eurorack modular."

https://zlobmodular.com

via Zlob Modular

"VC F3DB stands for Voltage Controlled Fixed Filter Feedback Distortion Bank. The simplest description is it’s a 16hp six band voltage controlled fixed filter bank. But with the additions of so much gain, clipping, feedback, and self-oscillation it becomes a very flexible and unique gestural sound sculpting tool capable of; graphic equalization over 6 octaves, multi-band distortion, spectral processing, crude vocoding, multi-frequency envelope following, self-modulation, and even as an instrument on its own. With no input it can be used as a pseudo chaotic “harmonic” feedback oscillator.

The filter frequencies were specifically chosen to emphasize more ambiguous and dissonant intervals. Although the frequency bands are spread out over many octaves I purposely tried to leave out “3rds” besides a major 10th at the top frequencies to even out all the dissonance below. But the frequencies aren’t exactly equal tempered, so it’s relative. The bands roughly equate to F2, B3, F#5, C6, F7, A8.

The design is based on the Moog 914 filterbank, which it borrows the frequency bands from. But this circuit uses active filters with opamps inspired by YU Synth opposed to passive cells using inductors on the original. The 88hz is a low pass -24db/oct and 7k is a high pass -24db/oct, the rest are -12db/oct band pass filters all with a Q around 4.

The hard and soft clipping circuit on the input is fairly standard which appears in many different iterations of classic guitar pedals. But it has a lot of gain and can even boost line level signals. What makes it a bit unique is the feedback on the clipping circuit which needs to be turned on by the GFB(gain feedback) switch and the amount can be controlled by the Gain FB pot which can add some fuzz/bite to the signal depending on which clipping switch is engaged or at the extremes it will self oscillate from audio rate to LFO sort of clicking range. All the clipping stages in the module are using silicon diodes.

Consult the Signal Flow Chart to the left for a rough visual breakdown of the controls,in/outs,normalizations, and optional settings for the module.

Each band can also be muted by the top toggle switches or clipped(at the VCA) by the top slide switch which makes this design a bit different than other filter banks. As well as the overall feedback section(bottom middle) takes the sum/all bands out through a VCA(controlled by the feedback pot and FB CV) back to the input gain/clip circuit. and you can also tap into this using different sends/bands to the FB In jack to break the normalization. With this extra feedback “resonance” you can get more whistley and howly filter sounds kinda like the Serge res eq, which can also go into self oscillation.

All cv ins are expecting +5v to open the VCAs(they wont respond to negative voltage), once you get closer to +8v or so it can clip the vca regardless of the gain settings or clip switches. Output amplitude in high gain settings will exceed 10vpp and can get up to 20vpp. The envelope followers tend to stay around 0-5v out, but with clip switch active they can go up to 10v.

Since this is a high gain module there can be bleed between the bands in certain configurations and situations. Also in high gain modes with higher frequencies the 2.8k and 7k bands can bleed a little with the VCAs closed.

This is a highly involved DIY all through hole project. It is a long build with 5 different pcbs to solder and assemble.

THIS IS NOT A BEGINNER OR INTERMEDIATE PROJECT."

Wild encounters Gotharman LD3 & Plinky

video by Meska

"Testing my travel setup with plinky & the ld3, awesome possibility for 2 small box
All drum are made with the ld3 perc oscilator no sample use
sub is juste one LD3 oscilatore going to my wavefolder/LPG filterboard (proto 1 ^^ ) controled by plinky (1voct follow the arpeg)
one of the glitchy voice going to plinky for same FX than arpeg
all flesh in the Pitch plinky input for chaos FM

Thank you for watching.
My name is Meska of the statik collective . I've been making mostly "dark and expérimental" music for more than ten years now, i'v learn so much online, now it's time for me to share my knoledge, my exploration and this channel is a place to talk about the tools, sound design and techniques to make music with.
i'm tattooist at day jobs and you can found my work here : www.meska.fr

You can stream my albums and EPs at https://statikwave.bandcamp.com/ or on the official YT page : https://www.youtube.com/channel/UCD-N...

If you'd like to support the channel​ consider buying music from bandcamp ;)"

Soundsauca Roland JD-990 Demos

"1993 must have been a vintage year. The Roland Super JD-990 is a classic digital synth with character.

Though the light from it's near 30 year old LCD may be fading (Photoshop works wonders!), the JD is still a much loved synthesizer today."

Playlist:

1. JD Worship - Roland JD-990 Demo

Spreading the JD-990 love! A little tune I put together with my Roland JD990. No external FX.

Heaven's Horns - a hi-pass filtered horn patch which fizzes down, gradually breaking across the stereo spectrum.

Dark Energy - a disturbing string patch that undulates with ghostly undertones,

Electric Eel - puts the JD990 chaos lfo to use with very short delay FX adding metallic feedback,

Binary Rain - a beautiful patch that sounds like flickering particles - it sounds different every time I play it,

Flangie Angie - a tightly flanged arpeggio sound with velocity sensitive attack, it can sound soft or hard with the mod wheel, tight and loose with velocity,

Magic Clouds - providing the heft down below with thick analog style sweeps,

JD Worship - The inspiration! A classic lead sound with the mod wheel controlling the dry/wet mix of the JD990 effects,

Lunar Mining - A repeating phased noise effect,

JD-8000 - I always wanted to make a supersaw on the JD-990. I finally found the trick, typically after I had bought a JP-8080 :) It does a pretty good impression,

Hazy Freeze - I love this sound! A melancholic lead that morphs into swirling clouds of audio,

Jungle Drums - Snappy self-oscillated S/H filter sweeps create a percussive sound. The JD has these wonderful sample and hold LFOs that slightly soften (slew) the harsh filter transitions. Later JV/XV series synths don't sound like this. The resonance also doesn't blow a hole in your ear drum when up high (always useful!)

2. Roland JD-990 - Superluminal Patches

A collection of 64 finely crafted Roland JD-990 patches. Take the deep dive into the 990’s synthesis, hearing its classic history along with futuristic sound impressions.

Find out more here: https://www.soundsauca.com/sounds/sup...

Superluminal represents a collection of Roland JD-990 patches that showcase my journey programming this awesome synth. From the cosmic interlude of the patch “Superluminal” to some seriously epic pads such as “Vista Grande”, the JD still has what it takes in 2020!

Sometimes I have to remind myself that its existence pre-dates 1993, with the slider infested JD-800 from 1991 and the D-50 from 1987!

I won’t pretend to be the first to praise this synthesizer, as I know I’m walking in the footsteps of great sound designers, but in my own way I hope to contribute to the JD’s legacy. The Roland JD-990 is a timeless classic with hidden depths to it even decades later.

One of the true great digital synthesisers.

5U - FM Drone

video by Precarious333 Music

"Testing out some modules (outside the case). Patch is an ElectroSmith VCO with linear FM from Q106A sine which is sequenced by a SympleSEQ. Saw out from ElectroSmith to Barton BMC034 Switched Resistor VCF (built by Lower West Side Studio) running 2 low pass filters in series. Barton BMC034 is modulated by Encore Universal Event Generator running through the inverter on Q155 with inversion modulated by an audio frequency signal from SSL 1710 5-PULSER which is processing the same Q106A FM-ing the ElectroSmith VCO, introducing a pitch heard as the accented notes. The inverter output is then fed to the Curver section of Q155 modulated by a second Encore UEG. Simple, right? Ha-ha!


Q155 Curver is a really great module. Works great to add uniqueness to modulation signals and audio alike. I'm sure I'll find a place for it in every patch.

A minute into the video I introduce an inverted copy of the sequence controlling Q106A into the Clock input on the Barton BMC034. This is an experimental input on a very strange filter producing unexpected results. In this instance we get a sweet spot that produces truncated versions of the sequence because the filter freaks out creating dead zones. I like that kind of thing. \ (•◡•) /

Things fall into chaos when I exponentially FM the ElectroSmith VCO by another VCO running a different sequence which degenerates into the noise at the end.

#5U​ #MU​ #ElectroSmith​ #LowerWestSideStudio​ #modular​​ #synth​​ #music​​ #SynthesizersDOTcom​​ #DOTcom​​ #MoogFormat​​ #SSL​​ #SyntheticSoudLabs​​"