Sonic Scenarios is a series of videos chronicling the features, designs and sounds of Eurorack format synthesizer modules with sound designer Mike Kiraly — Presented by Control.
Control is a synthesizer brick/mortar and online shop located in the South Williamsburg Neighborhood of Brooklyn, NY specializing in Eurorack Modular, vintage traditional and unusual eccentric electronic devices both analog and digital. Please do not hesitate to get in touch.
1. Sonic Scenarios | Make Noise: Mimeophon - Part 1 of 4 / Chords
Video 1 of 4: Simple experiments using the Make Noise Mimeophon. Here we process a chord through the Mimeophon showing examples of both Dry & Wet.
2. Sonic Scenarios | Make Noise: Mimeophon - Part 2 of 4 / From Nothing
Video 2 of 4: Simple experiments using the Make Noise Mimeophon.
3. Sonic Scenarios | Make Noise: Mimeophon - Part 3 of 4 / Stepping Out
Video 3 of 4: Simple experiments using the Make Noise Mimeophon. Here we experiment with the different delay styles, creating flange, karplus and more.
4. Sonic Scenarios | Make Noise: Mimeophon - Part 4 of 4 / Looper
Video 4 of 4: Simple experiments using the Make Noise Mimeophon. Here we use the Mimeophon as a looper.
Update: 2nd interview with Tom Erbe and Walker Farrell video added below.
"The Mimeophon music synthesizer module is a stereo, multi-zone color audio repeater by Make Noise and soundhack, coded by Tom Erbe.
The Mimeophon (from Greek mimeo (repeat/copy) and phon (sound)) is a modern take on various historical sound copying, echo and repeating devices. It allows for Stereo modulations of Time, Space and Timbre of Mono or Stereo sound sources. The Mimeophon is capable of modulating and morphing time scales of repeated sound from micro-sound to note to phrase length while also coloring and spatializing the repeats.
- Full Stereo In and Out
- Color Coded Modeless Algorithm: morph between Karplus, Flange, Chorus, Echo, Looping and everything in between
- Rate continuously controls Repeats frequency within Zones
- Skew lets Rate control Repeats differently for Left and Right channels
- μRate offers dedicated Doppler Modulation
- Tempo Sync for Doppler Free modulation of Rate, create complex repeat patterns
- Control number of Repeats up to and beyond Infinite
- Halo smears Repeats in stereo space
- Color focuses feedback energy for timbral shifts over time
- Rate Out generates Pulses at Skewed Tempos, completing the conversation within the modular system
- Zones may be Flipped for backward repeats
- Hold sound for non-destructive modulation of infinite loops
- Fully Voltage Controlled Time, Space and Color modulation algorithm
- Reasonable power consumption
- Pairs well with Morphagene, QPAS, and X-PAN
Mimeophon Development: a conversation with Tom Erbe and Walker Farrell
Published on Aug 14, 2019 MAKEN0ISE
"As we were wrapping up development of the Mimeophon, Tom Erbe stopped by our shop to discuss his inspirations behind the module with Make Noise's Instrument Specialist Walker Farrell.
Tom Erbe (of Soundhack) has worked with us on several modules, including the Echophon, tELHARMONIC, Erbe-Verb and Morphagene. Our latest collaboration, the Mimeophon, is a stereo, multi-zone color audio repeater, and is a modern take on various historical sound copying, echo and repeating devices."
"Video 3 of 4: Simple experiments using the Make Noise Mimeophon. Here we experiment with the different delay styles, creating flange, karplus and more.
Sonic Scenarios is a series of videos chronicling the features, designs and sounds of Eurorack format synthesizer modules with sound designer Mike Kiraly — Presented by Control.
Control is a synthesizer brick/mortar and online shop located in the South Williamsburg Neighborhood of Brooklyn, NY specializing in Eurorack Modular, vintage traditional and unusual eccentric electronic devices both analog and digital. Please do not hesitate to get in touch.
Here I recorded a sequence from Basimilus Iteritas Alter into Morphagene, and several other takes of the same sequence but different configurations into Arbhar’s buffers.
I then freed BIA and used it live for kick / snare.
The 0-Coast is playing a simple bass line.
Both Arbhar and Morphagene go into Mimeophon. I use Mimeophon’s clock out to trigger Arbhar.
I managed to combine the “2” and “3” channels of Maths and the Varispeed attenuverter of Morphagene in a way that when channel “3” pot is fully counterclockwise the sample in Morphagene is playing in the original (Green) pitch, when I turn the channel “3” pot fully clockwise the pitch of the sample changes to 1 octave lower (White).
2. Arbhar / Morphagene / BIA / VCV Rack / Erebus
Just a modular jam using INSTRUO Arbhar, Make Noise Morphagene, Noise Engineering Basimilus Iteritas Alter and Dreadbox Erebus, all going into VCV Rack for some sound processing and mixing. I am also using an external plugin for the Mellotron flute sound.
I recorded the Koshi Chimes Aqua in Make Noise / SoundHack Morphagene and from there it goes into Mimeophon for the delay effect.
Two FM operators in VCV Rack going into Clouds.
The Dreadbox Erebus is playing a single Triangle waveform through its own echo effect.
The Hermod is used exclusively as a modulation source.
There is a lot of additional patching between the hardware modules and VCV Rack so feel free to ask any questions in the comment section.
4. Make Noise / SoundHack Morphagene & Mimeophon sound exploration
Just a modular jam using Make Noise / SoundHack Morphagene & Mimeophon. No modulation is applied except some simple LFO's from Maths.
Here are some patch notes:
----------------------------------------
- I'm recording to the different buffers of Arbhar using its internal contact mic, and Arbhar is going through the Mimeophon.
- I'm sending the trigger output of Arbhar to trigger the Mimeophon so there's a change in the Mimeophon's clock rate.
- The trigger output of the Mimeophon is triggering its Flip function, and I'm also splitting the EOSG of the Morphagene once to trigger the Hold function of the Mimeophon, and once to trigger the grains on the Microcell.
- I'm also sending S&H from VCV Rack to modulate the Zone and Rate of the Mimeophon.
- With the Keystep, I'm playing chords from a voice in VCV Rack, which is going through Chronoblob 2 and reverb.
- I have my Zoom recorder connected to the Morphagene, and with it I'm recording my flute.
- The Morphagene is going to the Microcell in granular mode, and its CV output is modulating the grain size so the louder the sample, the bigger the grain size.
- I'm sending S&H from VCV Rack to modulate the Gene Size and Slide, and I'm sending another S&H from VCV Rack to trigger the Hold function of the Microcell.
- I have another voice in VCV Rack, this arp, that I'm playing also with the Keystep, but on a different Midi channel, and I'm controlling its level with the VCMC.
- After recording to all 6 buffers on Arbhar, I'm switching to the Omega position and another S&H from VCV Rack is scanning through the buffers.
- All of the S&H modules in VCV Rack are being triggered by random triggers.
"In this video resident expert Steven Ly performs and shares a few tips and tricks with the Make Noise Mimeophon.
The Mimeophon music synthesizer module is a stereo, multi-zone color audio repeater by Make Noise and soundhack, coded by Tom Erbe.
The Mimeophon (from Greek mimeo (repeat/copy) and phon (sound)) is a modern take on various historical sound copying, echo and repeating devices. It allows for Stereo modulations of Time, Space and Timbre of Mono or Stereo sound sources. The Mimeophon is capable of modulating and morphing time scales of repeated sound from micro-sound to note to phrase length while also coloring and spatializing the repeats.
Order a Make Noise Mimeophon here: https://bit.ly/pw_mimeophon
"I made this video on the 26th, 27th and today the 28th, so it's not a jam but a regular video. The main subject of this video is patching from scratch. With infinite possibilities, where do you begin? For me it's often a patchpoint I haven't used much or don't understand well. I had just finished the Mysteresis video and new ideas pop in when you're done and doing something completely different like cooking or cleaning. Since I've been working with Echophon feedback, I wondered if I could do something different with Mimeophon. Feedback doesn't really work, but how about clocking Mimeophon with Wogglebug, which is clocked by Mimeophon? I call it a clock feedback loop but don't know if there's a name for it. The fun obviously begins when you're going audio rate. The results were interesting, but not as spectacular as I hoped for. Second subject of this video is the Spectraphon Noise + Chaos mode which was added in the lastest firmware. The clock feedback delay and the SP were a nice combo and at the end of the session I finally got something worth sharing. I ended the video with a stock scene from a tibetan bowl player because it looked interesting and it had this relaxing vibe. This morning I patched up the Spectraphon to make bowls, so the stock video makes sense. It sounded very nice! So here's how one idea leads to another and adds up to your knowledge and experience. It's something you can't really learn from a book, you just need to let it happen and learn as you go. So it's noise and chaos from both Mimeophon and Spectraphon, and definitely in the patching process :).
Without a goal and without expectations, because a modular will always take a different route. So always keep that recorder running...."
Update: module details and pic added further below.
"On Friday July 15th at 7pm PST, Make Noise founder Tony Rolando will show off his newest Eurorack module design, alongside long-time modular artist Rodent.
Make Noise has a long history of shaking up the modular synth world with fresh, forward-thinking, and downright fun new modules and standalone instruments.
This marks Make Noise's first new release since 2021's Strega, and their first new Eurorack module since 2019's Mimeophon.
The stream will feature a module overview, Q+A, and live examples of the new design."
Initial post/details:
Make Noise will be presenting a new module at Perfect Circuit tonight at 7 PM. It's my understanding tickets for the event are full, however Perfect Circuit will be live streaming the event. I will be sharing the stream on top of the site at 7PM sharp so tune back in for the event.
Details follow:
Live Event: Make Noise First Look to New Eurorack Module
Where: Perfect Circuit Showroom 2405 Empire Ave Burbank, CA 91504
Event date: July 15th, 2022, 7 PM
About the Friday Make Noise Event
Make Noise is heading to Perfect Circuit for an exclusive first look at their latest creation. On Perfect Circuit's YouTube channel at 7 PM PST this Friday, July 15th, Make Noise founder Tony Rolando is showing off their newest Eurorack module design. Long-time modular artist Rodent will join Tony in the announcement. Tune in live for the first look at what Make Noise has cookin'. The stream will feature a module overview, Q+A, and live examples of the new design.
What Will They Reveal?
Make Noise has a long history of shaking up the modular synth world with fresh, forward-thinking, and downright fun new modules and standalone instruments. Be sure to tune in for Make Noise's first release since 2021's Strega and their first new Eurorack module since 2019's Mimeophon. This new module is top secret, so we can't share any details except we know you will love it.
"Make Noise is proud to announce our newest module, the XPO!
The XPO, or Stereo Prismatic Oscillator, is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub-Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.
The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic Oscillator also makes a particularly useful patch buddy for the STO, Mimeophon, and X-PAN.
The XPO was announced on Friday, July 15th by Make Noise founder Tony Rolando and our Sales Specialist Eric "Rodent" Cheslak at an event at Perfect Circuit."
The XPO or Stereo Prismatic Oscillator is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub- Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.
The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic Oscillator also makes a particularly useful patch buddy for the STO, Mimeophon, and X- PAN.
The Story of the XPO by Tony Rolando
I was lying awake in bed at 3 am thinking about music and synthesizers, on this early morning specifically, the voice panning of the OB8. So simple, so effective. A bank of 8 analog pan-pots is tucked into the side of the instrument to let the musician choose the exact placement of each voice in the stereo field. As you play the instrument, notes may dance around your head. This led me to think about how Oberheim and most other synthesizer designers through the 70s and early 80s primarily used Pulse Width Modulation for waveform animation. Don Buchla's wavefolding techniques had not caught on. PWM has been more or less the same for decades and there is not a whole lot of difference between PWM in one instrument to another. Some allow you to modulate further than others. A few even allow you to go all the way to 0% or 100% Width. PWM was usually generated from a Saw or Triangle core, and while I tend to prefer PWM generated from a Tri-Core, the difference is subtle. The bigger difference is the filter that follows. PWM has a way of tickling the resonance of a filter that can really make the sound come alive.
This led me to think about Stereo filtering. How could a synth sound more stereo? At Make Noise we have voice panning with the XPAN, stereo filtering with the QPAS, and stereo echo verb with the Mimeophon. Surely, this was enough stereo modulation.
Then it occurred to me, why couldn't PWM be stereo? It would be very effective at creating a stereo image since the amplitude of both Left and Right would be almost identical, while still offering dramatic stereo timbral shifts. I thought to myself, surely somebody has done Stereo PWM already. I needed to research this idea. So I wrote about it in the notepad I keep on the nightstand and I eventually fell back asleep.
I woke up the next day and I immediately saw the note, I tried to read it...
Here are some patch notes
--------------------------
- I've recorded my guitar into Arbhar and Morphagene.
- I have the built-in reverb of Arbhar set to Wet, and it's going into VCV Rack for some saturation with Debriatus from Freak.
- Morphagene is going through Magneto for some tape warmth and it's being modulated by the Noise Tools from Intellijel.
- In VCV Rack, I have an FM arpeggio that I sequence with the Keystep, and fade in and out with the nanoKontrol.
- I also have some drums going on in VCV Rack, and I send them to the Microcell in BeatRepeat mode, and from there to the Mimeophon.
- I'm triggering Microcell with the random clock of the Noise Tools module, which I'm also using to modulate the Rate of the Mimeophon.
- The EOSG output of the Morphagene is triggering the Flip function of the Mimeophon.
- In VCV Rack, I have another voice that I'm playing with the Keystep into a looper.
- I'm also recording my flute into a looper in VCV Rack."
"There are multiple effects that can all be generated with a delay, these are often called time based effects and they include flanging, chorus, delay, vibrato, looping and Karplus-Strong. Read our Signal article about time based effects for more information: https://www.perfectcircuit.com/signal....
The Make Noise Mimeophon module combined with an LFO can create all of these delay based effects and more since it has other options like skew, reverse and a reverb like halo effect. With the traditional time based effects used as a starting point you can develop great sounding traditional effects or go off in another direction completely.
"Here's a second feedback patch. This time, I am using an endless loop between QPAS and Mimeophon, with lead sounds from Spectraphon. I was expecting a lot, but I used too much VCA's and couldn't really find a good sweetspot. But then I only used QPAS and Mimeophon, both modulated by the WoggleBug... Please note I recorded the Just QPAS+Mimeophon a few hours ago. The first patch was recorded yesterday evening. I glued it together.
#jamuary2024 Day 09"
"So I wanted to try something I saw in a video from Andrew Huang about the Mimeophon (link below). Marbles from Mutable Instruments is sequencing Rings, which is going through a stereo filter, Freak from Vult in this case, and from there to the Mimeophon. Stages is modulating the frequency of Freak and also a few parameters on Rings. Anyway, Rings into Mimeophon anyone?
Here are some patch notes: --------------------------------------------- - I have Freak set with a built in dual VCA, and both channels have the resonance all the way up. - The Keystep Pro is triggering both sections of Rampage, which are opening the VCA of Freak. - I have S&H from the 1U Noise Tools modulating the fall times of one channel, and the Muxlicer sequencing the fall times of the other channel. - Freak is going to ReduXer from VoicAS, and from there to the Mimeophon. - I have S&H coming from the Disting modulating both the color and repeats controls of the Mimeophon. - The Keystep Pro is also triggering the Basimilus, which is going to the Desmodus Versio with the regen all the way up so it's side chained to the Basimilus. - I'm clocking the Mimeophon, the Disting, and Muxlicer with the Keystep Pro.
"A self-playing Eurorack modular synthesizer patch featuring Make Noise’s XPO, QPAS & Mimeophon, and Stochastic Instruments’ Stochastic Inspiration Generator (SIG+). Plus many more modules described below.
Everything you hear in this is coming from a single monophonic sequence from the SIG+ and a single Make Noise XPO. I’m pretty amazed by how much variety of tone and texture can come from this single oscillator, all at the same time. The different waveform outputs are each running through their own VCAs, filters, triggers, and effects, but the melodic content is all the same. I’ll go through the sequencing in a minute, but first I’m going to focus on the audio signal paths.
Overall, the XPO’s L & R modulation are controlled by a triangle LFO coming from Acid Rain’s Maestro.
The first output is the stereo square wave, which goes through QPAS and Mimeophon, then into the mixer. QPAS’s L & R rotation and Q are modulated by two different smooth random waves from ALM’s Pamela’s Pro Workout. Mimeophon’s repeats are modulated by a smooth random wave coming from Maestro. This voice is triggered by a bouncing ball coming from Make Noise’s Maths.
The second output is the mono triangle wave, which first goes through an Intellijel 1U VCA, then uses Intellijel’s 1U pedal I/O to go through a Chase Bliss Mood (repeats tuned up a 5th) and Chase Bliss Dark World, then into the mixer. This voice is triggered by another bouncing ball from another Maths.
The third output is the mono sawtooth wave, which goes through channel one of a Make Noise ModDemix, an Intellijel Morgasmatron (with panning controlled by separate LFOs going to the L & R FM1 inputs - LFO 1 coming from Mutable Instruments’ Tides and LFO 2 coming from Intellijel’s Rubicon 2), then a Happy Nerding FX Aid XL running a flanger algorithm, then into the mixer. This voice is triggered by a repetitive Euclidian rhythm coming from Acid Rain Constellation and Doepfer Dual ADSR.
The last output is the spike wave going through channel two of the ModDemix, a Doepfer Multimode VCF, and Strymon’s Magneto in shift mode, then into the mixer. Magneto’s repeats are modulated by another smooth random wave coming from Maestro. This voice is triggered by a slower Euclidean rhythm coming from Constellation and Make Noise’s Contour.
Each voice goes into Doepfer’s VC Stereo Mixer, which has a built in VCA on each channel. The level of each voice is independently controlled by a separate smooth random wave from Pam, so the mix is constantly evolving. The voltages coming from Pam are further slewed by Mutable Instruments’ Stages, since the smooth random wave from Pam can still have some sharp edges. Then the whole mix goes through a 2HP Verb, with the reverb mix modulated by another smooth random wave from Pam, and finally through Endorphines’ Golden Master, which connects directly to the Intellijel 7U Performance Case’s built in audio outputs.
Now for the melodic content and harmonic structure. This is all driven by Stochastic Instruments’ Stochastic Inspiration Generator (my first patch with it!). This is an incredible module. I won’t go into everything it does, as there are already a couple very helpful videos out there on that, but suffice it to say that it lives up to its name! I’m using multiple channels, each with its own tonality, then cycling through those via an ALM Boss Bow Two switch to determine which channel will control the v/oct pitch of the XPO. The Boss Bow’s channel is control by a sequence coming from another Stages. Channel one is just a low C, to establish the primary key. Channel two randomly selects pitches from a C major chord, with low C in the bass. Channel three selects pitches from an F minor chord, with an occasional 2nd and 4th and a low F in the bass. Channel 4 selects pitches from a D flat major chord, with an occasional 6th and a low D flat in the bass.
I’m not sure if this is indeterminate enough to be considered generative, since the harmonic content is fairly structured, even if the melody, rhythm, and balance of the parts are all random. It’s more, well, aleatoric. I hope you enjoy it (although I realize than if you are into this sort of thing, you are born of a special breed!)."
Follow-up to yesterday's post. New video and the official press release are in.
"The Dual Stereo Gate (DXG) music synthesizer module is a Dual Stereo Low Pass Gate and Mixer. It follows in the footsteps of the QMMG, Optomix, RxMx, DynaMix, and LxD. Unlike its predecessors, the DXG is specifically oriented around mixing stereo signals, making it an important addition to any system containing modules like XPO, QPAS, Morphagene, Mimeophon, Spectraphon, and other stereo modules by Make Noise or others.
The Dual Stereo Gate (DXG) music synthesizer module is a Dual Stereo Low Pass Gate and Mixer. It follows in the footsteps of the QMMG, Optomix, RxMx, DynaMix, and LxD. Unlike its predecessors, the DXG is specifically oriented around mixing stereo signals, making it an important addition to any system containing modules like XPO, QPAS, Morphagene, Mimeophon,Spectraphon, and other stereo modules by Make Noise or others.
Unique to the DXG is a new low pass gate circuit that does not use vactrols. This circuit is 100% analog and its response was arrived at after many months tailoring it to meet or exceed the expectations that have been set by all the vactrol low pass gates that Make Noise has created over the years. The DXG is a completely new approach which better implements the gentle single pole filtering of a low pass gate, while also emulating the slow decay and memory of the vactrol based low pass gate. This new circuit makes possible the consistency of response necessary for versatile stereo use, while also keeping the module small and affordable so that it can be a key part of just about any modular system.
Unlike previous low pass gates made by Make Noise, all the DXG’s inputs and outputs are stereo. Each set of inputs is normalled so that the left input can be used for a mono signal, sending a copy to both left and right outputs. The Auxiliary inputs are also a stereo pair with mono normalization. These normalizations allow for the DXG to be used as a simple three channel stereo mixer, with one or two of the channels additionally being used for dynamics control and note event generation. The Aux inputs can be used to chain together larger decentralized mixes using additional DXG modules, or X-PAN, Optomix, modDemix etc.
"In this video Jesse from Patchwerks performs with the Moog Subharmonicon as the synth voice, the Elektron Digitakt as drum machine and master clock, and the Make Noise Mimeophon as the effects processor.
From Moog:
Subharmonicon is a semi-modular polyrhythmic analog synthesizer that employs a 6-tone sound engine and multi-layered clock generator to explore the world of subharmonics, polyrhythms, and the unique relationships they create.
"Thank you for watching! Here are the simple patch notes, a list of the gear, and more information.
https://wac-lounge.bandcamp.com
Echoed bell voice = Rings processed by Mimeophon(clocked by Steppy) sequenced by Mob of Emus CH3 Granular ambient voice = Mob of Emus CH2 processed by Beads & Disting(Tape delay) sequenced by Mob of Emus CH4 slew limiter A-184-1 Echoed arpeggio voice = Mob of Emus CH1 processed by Hector(Delay) sequenced by Flame Chord Machine clock & program changed by Steppy enveloped by MATHS Synth lead voice 1 = Hector(Plaits clone) processed by Hector(Delay) sequenced by Hector(Note sequencer triggered by Steppy) Synth lead voice 2 = Hector(Plaits clone) sequenced by Hector(Note sequencer triggered by Steppy) modulation & enveloped by Hector(ADSR) Synth lead voice 3 = Ensemble Oscillator modulation from Mob of Emus CH6 & MATHS sequenced by Flame C-3mk2 Piano loop voice = Volca Sample Master clock = Volca Sample(divided by Steppy)
"Warning: The recordings in this video have a LOT of bass, even with a 30Hz EQ low cut. Maybe some of that will get trimmed off in YouTube compression.
Contents: 0:00 OB-X8 with TAL chorus I 1:34 Nord Lead 2 with TAL chorus I 3:04 OB-6 with built-in chorus 4:36 Juno-6 with built-in chorus II 6:06 JX-3P with built-in chorus 7:35 JP-8000 with built-in slow chorus 9:06 Reface CS with built-in chorus 10:43 Polyphonic Eurorack with Mimeophon 12:14 OB-X8 with reverb 13:53 Nord Lead 2 with reverb 15:28 OB-6 with reverb 17:04 Juno-6 with reverb 18:41 JX-3P with reverb 20:15 JP-8000 with reverb 21:52 Reface CS with reverb 23:29 Polyphonic Eurorack with reverb
I had to reupload this due to being a Davinci Resolve noob. There were all sorts of weird artifacts in the audio with the original upload. Hopefully it's fixed now.
I'm not sure if there's a point to this video at all. I love soft pad sounds. They're warm and comforting. I decided to make a pad sound on the Roland JX-3P and one thing led to another and of course I had to make a similar sound on ALL of my analog and virtual analog polysynths, including Eurorack, as I now have all the components to make a 2-VCO 4-voice polysynth. All of these pads are based on a simple 2-oscillator sawtooth, with a little detuning and pitch mod to one of the oscillators, if possible. On the Juno I there's only 1 oscillator, so there's maybe a little more LFO to pitch than on the other synths.
In the beginning, you see me play the notes on the Oberheim OB-X8 (Yes, it's an X8 and not something vintage, I have a pinstripe overlay, mostly for the Page 2 labels). I used that "performance" to capture the MIDI, which is then routed to all the other synths that are featured here, including the Eurorack setup. Before tracking the modular stuff, I removed some notes from the recorded MIDI so that there wouldn't be all sorts of crazy unpredictable voice stealing.
I used the built-in chorus on the JX-3P, so I figured it's only fair to use chorus on everything. I used the TAL Juno Chorus plugin on the OB-X8 and Nord Lead 2, setting 1. I used the built-in Chorus II on the Juno-6, and the "slow chorus" on the JP-8000. For the Sequential OB-6 and Yamaha Reface CS, I went for a similar type of slow chorus. The chorus on the OB-6 is very usable if you keep the rate low. There are sweet spots to be found. For Eurorack, I used the Mimeophon with a short delay time. It doesn't really do the chorus thing so much, but it does sort of act as a stereo widener. So if it sounds a little clangy, that's probably why.
Eurorack 4-voice poly is assembled like so: Voice 1: 2 VCOs from the System-500 512, System-500 521 VCF, System-500 VCA, System-500 envelope Voice 2: 2 Eowave Titan VCOs, System-500 521 VCF, System-500 VCA, System-500 envelope Voice 3: 2 VCOs from the Wavefonix Dual CEM 3340, G-Storm SH5-VCF, Doepfer VCA, Doepfer Envelope Voice 4: Dreadbox Erebus all internal VCOs, VCF, VCA, and envelope All voices are mixed together and then fed into the Mimeophon There is some additional filter modulation applied to all filters via the Erebus LFO
After the first round, all recordings are played again with the wonderfully lush Audiothingies DoctorA modulated plate reverb, approx 50/50 wet/dry mix."
