Groc - from train announcement to wavetable synth

video upload by oddment audio

"Can Groc do wavetable synthesis? Oh yes.

Here’s how: (1) pick a sound, (2) set the speed near 0, (3) turn the overlap all the way up, (4) use small grains, (5) have fun playing with speed and grain size to seamlessly move between the original sound and your wavetable synth!"

Introducing the Fauxhundred

Details from the brochure:

IN THE HANDS; WHO MAKES THE RULES? HIERARCHICAL PERCEPTIONS GRASPING ELUSIONS OF CONTROL WITH THE LIGHTEST TOUCH ON SENSITIVE PROBLEMS, MIDAS IS HANDLING - HANDLING POSSIBILITIES.

SYSTEMS OF KNOWLEDGE OVERLAP, REVEALING ZONES OF CONFUSION, THE SOURCE ABSURDITY MANIFESTS TO SUGGEST REVISITATION: TO CONTEMPLATE CERTAIN ANGLES OF REPROGRAMMING THE METAORGANISM.

TO CLOSE A KEY IS TO RELEASE THE QUESTION, EXPLORING OTHER CORNERS OF PYCSHOTELEMETRY: MEASURING KNOWN STEPS - INSERTING REPEATING INGREDIENTS - YET FACILITATION THE DEVELOPMENT OF NEW RANGES, LOCATIONAL DYNAMICS IN UNMAPPED ENCOMPASSING DIMENSIONS, AND VITAL - ALMOST IMPERCEPTIBLE - DIFFERENCES TO THE ORIGINAL MEDIA.

THE OBSERVER MAY ABANDON THEIR ROLE TO INSTEAD DEFINE THEIR EXPERIENCE; THUS, DESPITE INDUCTIVE DUST INDICATIVE OF ONE MILLION REPETITIONS, THE NEXT INSTANTIATION YIELDS SOMETHING GREATER THAN ITS SUM.

WAHT IS REAL?
FAUG GOLD IN THE HANDS?
SIXTEEN RECTANGLES NEATLY ARRANGE TEN-STAGE CURVES BY SIX MOON'S PHASE FOUR TIMES. ONCE UNDER LEAD LAMPS, THE EXTINGUISHED LIGHT BREACHES AN OLD WINDOW AND THE SCOPE NOW FRAMES THE NEIGHBORING FIELD, WHERE THE RAM RETRIEVES A MEMORY OF THE BREAKING POINTS.

SO UNREAL: AN INDEX OF CONTINUOUS IMPLICATIONS THAT THE DEFINITION OF THE EDGE IS STILL SUBJECT TO VARIATION, N-DIMENSIONAL TRAJECTORIES TRACING AXES STILL UNKNOWN.

TECHNIQUES ARE EMPLOYED, FROM WHICH UNUSUAL LINKS AND PROCESSES JUMP FUTURE ELEMENTS AN EXAMINATION OF STRUCTURE; INDIVIDUAL MUSIC; INDIVIDUAL LANGUAGE. IN TIME, EMERGENT NONLINEARITIES MERGE TO DEFINE THE USER PROGRAM: A NEW SENSE OF PERCEPTUAL MECHANICS; A SPECIAL RELATIONSHIP TO YOUR OWN EXTERNAL FEEDBACK SYSTEM; A DEPARTURE OR CONTRAST.

TO MATURE IN EXISTENCE, TO FLOWER IN PERCEPTION, EVALUATE RELATIONSHIPS, REDUCE LOGICAL ASSUMPTIONS, SKIP THE NEXT ACTION, AND CHECK THE SUM.

STOP; DON'T LOOK UP; TRANSFER OPERATIONS, SCORE MANIPULATIONS, AND UNFOLD THE OTHER PLANS.

ANOTHER ITERATION, THE TASK'S NEW BRANCH, NOW EMERGING: ADDRESS THE SEQUENCE - THE DEFAULT PERCEPTUAL HIERARCHY PROCESSION, SUCCESSION, AND CHANGE.

WHAT IS REAL?

FAUX GOLD IN THE HANDS.

- Except from Faux Gold

Kaivo: Granulator Module Overview

video upload by Madrona Labs

"Kaivo is a software instrument combining two powerful synthesis techniques (physical modeling and granular synthesis) in an easy-to-use semi-modular package. It’s laid out a bit like an acoustic instrument; the GRANULATOR module acts like the player’s touch, exciting one or more tuned objects (here, the RESONATOR module, based on physical models of resonant objects) that come together in a central resonating body (the BODY module, also physics-based).

https://madronalabs.com/

Chapters:
00:00 Intro
00:24 Granulator Overview
02:53 Waveform Display Window
03:33 X & Y Sliders
04:59 Source Menu
05:16 Importing into Granulator
06:23 Pitch Control
07:03 Linear and Exponential Inputs
07:21: +/- Input
07:43 Patch Demonstration 1
09:21 Continuity Error Acknowledgment
09:31: Trigger Input
10:14 Follow Button
11:04 Overlap Control
11:49 Sync Button
13:01 Wrap Button
14:14 Patch Demonstration 2
15:40 Noise Button
16:17 Pan Control
16:40 Patch Demonstration 3
16:51 Outro"

New Groc Granular Hardware Synth from Oddment Audio

video uploads by oddment audio

Playlist: 1. Groc granular synth - modulating fun

Here we have simple note sustain while modulating grain bandwidth, overlap, placement (in stereo field), distortion drive and filter cutoff frequency. Oh, and our first reveal of the delay unit!

2. Violin and ambience with Groc granular synth

Here we are editing sample loop points, ADSR envelope and Groc's unique "time path" to create lush sustains from a short violin clip.

3. cool fall day + warm groc tones

walking on a cool fall day, accompanied by warm tones produced by groc granular synth

4. Groc - LED sequence with spatial sound

This video shows the first testing of the groc interface board, and includes the first audio demonstrations of spatial sound overlaid. Headphones recommended!

5. Groc Demo - Grain parameters

First demo of groc's grain parameters with a guitar loop as audio sample.

"Sculpt sound. Modulate everything. Do you groc?

Stunning, yes.

Slim, yes.

Powerhouse, also yes.
quad core 64-bit ARM processor
1GB RAM, 4GB of user storage
vivid DSI touch screen
cutting edge signal processing
fits in a bread box

Not like the others.

Groc demonstrates that a compact form can deliver unparalleled functionality. Access dozens of parameters in the custom granular synthesis engine with 4 grains encoders. Achieve one-of-a-kind manipulations of playback speed, shape multiple envelopes, edit audio sample crop and loop points, adjust 4 LFOs, 3 macros and morph between patches with just 8 more encoders. Add in an entire world of effects, accessed with just 4 more.
The large and vivid touch screen provides rich information and beautiful visualizations of your sounds, and enables deep functionality within just a touch or two. Is this where we mention the placard at Oddment HQ that reads, “Down with menu diving!”?

Patch without limits.

Every parameter on groc is a modulation destination, and connecting modulation sources is as easy as plugging in a patch cable (w/o the need to search in your closet).

To go with its myriad destinations, groc has a bounty of modulation sources: 4 LFOs, 4 envelopes, MIDI velocity, key tracking, polyphonic after touch and all the rest.
In the event you were hoping to use a physical patch cable, yes, you can use groc’s modulation sources to wiggle analog voltages via the 4 control outputs. Or configure them as inputs to control any of groc’s parameters with CV from your other gear, a sustain pedal or you name it.

Did you want to sequence a parameter, or draw a custom modulation curve on the touch screen? That seems reasonable and groc will support you. Do you want to connect a dozen or more modulation sources to the same parameter? That is far less reasonable, but that’s just, like, our opinion."

Learn more about Groc and Oddment Audio: www.oddmentaudio.com

A short RK008 Quantize grid example loop

video upload by Retrokits

"Recording realtime gives you complete freedom of playing - but sometimes a quantize grid can help you out, also production- wise.The quantize grid in the RK008 is capable of separately altering note on, note length or note off.

A note-off is part of the groove and you can use the grid options to tighten up sounds but also make the most of a synth with limited polyphony, timing note-offs perfectly before starting a new one.

PS: I'm focusing on the quantize grid here, you can also adapt the length of a note in a percentage of the original which is not shown in this movie. You can check the complete RK008 Quantize menu here:"

RK008 Menus: ALT+6 - QUANTIZE

video upload by Retrokits

"RK008 Menu 6 houses real-time Quantize transformations.
The first part (ALT+6) is for note-on quantize, straightening out played notes on a user-selectable grid:

Digit 1 to 6 select a timebase;
Digit 1 - 2 - 3: 1/64 - 1/32 - 1/16
Digit 4 - 5 - 6: 1/8 - 1/4 - 1/2
Digit 7 - 8 - 9: decrease - 1/16 center - increase
(inc/dec is also accessible via ALT+DEC and ALT+INC)

Tapping a digit multiple times will also allow you do select a dotted or triplet grid For example in case of a 16/th note-on Quantize(3):
1x tap: 1/16
2x tap: 1/16D (dotted, notes are 1.5 times a 16th note)
3x tap: 1/16T (Triplets, notes are 1/3rd length of a 16th note)

Pressing INC will slide to the Swing settings which have the same type of interface, selecting timebases with 1-6 and making adjustments with 7-9.

Pressing INC again will slide to the Note Length Quantize part. In this menu you will be able to quantize the note length to fixed length - or- only quantize note off fixed to a grid.

For example - on the 16th Note Length Quantize (3)
1x tap: 16th length fixed
2x tap: 16th- length staccato (length is cut just before the next 16th note)
3x tap: 16th+ length legato (length will just overlap the next 16th note)
4x tap: Q_16 note off length is snapped to a 16th note grid
5x tap: Q_16- note off length is snapped to a 16th note grid staccato style
6x tap: Q_16+ note off length is snapped to a 16th note grid legato style

The @EspenKraft video mentioned is here:" [posted here]

Nibbler Rhythms

video upload by SCHLAPPI ENGINEERING

"Getting a little more into detail about ways the Nibbler can be used for generating rhythms and what happens when you modulate it with a clock divider.

0:00 Intro
0:57 Modules used and patch description
1:39 Triggering the drum brain and Async/Sync explanation
2:44 Patching up the clock divider
3:50 Simplest Nibbler Rhythm (disco?)
4:55 Combining clocked Nibbler and clock divider
8:41 adding the second Nibbler
10:55 Let's speed it up again...

The Nibbler overview video should probably be watched first (though there is some overlap)"

Nibbler Overview

video upload by

"The Nibbler is a module about exploring the musicality of counting in binary."

12/5/23 (300, 500, 1000 lullaby) Northeast Electronics Corp. TTS-4ANH & 4XDV + Peavey DDL-3

video upload by Cfpp0

"A lullaby, a duet! Three selectable frequencies (300cps, 500cps, 1000kc) on the NEC TTS-4ANH are alternated with the send freq switch, and fed into the Peavey DDL-3 digital delay pedal to overlap and sustain. No reverb is used so that the odd character of the NEC TTS-4ANH can be heard, but the highs and mids are boosted on the little Mackie Mix8 to bring out the distortion, harmonics, and switch clicks. Shot in the last few minutes of daylight."

AUM Keyboard Zones Quick How-To

video upload by boxoftextures

"A quick how-to on how to set up keyboard zones in AUM on the iPad. I connected a CME Xkey Air keyboard to AUM, then added three instruments—bass, piano (with far too much reverb LOL), and “guitar.”

To set up the zones you need to go to the MIDI input settings for each channel and specify the note ranges. After that you can play from the bottom of the keyboard, and as you move upwards you go from bass to piano to guitar. Or you could overlap the ranges, or layer them, or any number of other things depending on what you’re trying to accomplish."

Qu-bit Introduces Mojave Live Granular Processor Eurorack Module

Tutorial 1: Getting Started video upload by Qu - Bit

00:00 Introduction
01:18 Let's get started with Clock modes, Rate, Gen triggers and how to get grains moving.
02:36 Other ways to trigger grains? Hello, Gen Modes!
03:36 SIZE!
04:26 Don't forget to shut the window. Or, maybe open it?
05:04 Speed: Wait, we can pitch-shift grains?
05:39 Zone: Grains from the present and the past. (Too fun.)
06:35 The relationship between Distribute and Structure.
08:02 Take control of quantization with Sky modes.
09:06 I want my grains to jump around! Drift is your friend.
09:37 Whirl creates a universe in stereo. No, really.
10:03 TWO end-of-chain effects - Feedback and Reverb!
11:17 TWO freeze functions!
13:02 Dune: Mojave's unique CV/Gate output
13:38 Oh, we didn't tell you there's a mic on Mojave?
14:33 Patch Example - "Gypsum"
15:00 Patch Example - "Mic-Check"
15:56 Patch Example - "Interstellar Beats"
___________________________________________

https://www.qubitelectronix.com/

Press release follows:



SAN CLEMENTE, CA, USA: Q-Bit Electronix is proud to announce availability of the Mojave module as its latest Daisy platform- based Eurorack entry — effectively kicking up a granular sandstorm as a live granular processor drawing inspiration from vast swathes of its American Southwest desert namesake by using microscopic bits of audio to create beautifully-crafted sonic landscapes while reinventing the way we interact with sound, seriously backing up the self-proclaimed ‘Future Coast’ modular synth-maker’s philosophy of building bespoke devices that push the boundaries of design beyond what is presently possible in the process — as of October 10…

It is fair to say that Mojave is a stereo live granular processor at its creative core, but, in reality, it is capable of so much more — not least when being pressed into play as a stochastic event generator. Mojave makes it possible for explorative users to patch together feedback-driven glitch textures or compose harmonic symphonies from a single droning oscillator. Other possibilities include creating a granular delay or scrubbing a locked audio buffer to create time-stretching effects — and all directly from the front panel of this 14HP-wide module.

Mojave can — in many ways — behave exactly like other granular processors, but what sets it apart in this realm is its ability to take complex granular manipulations and make then accessible to even the most novice of users. “Our first module ever was Nebulae, a granular looper; we've always wanted to do a fully-committed, live granular processor but with a ‘New-Bit’ twist,” confirms Qu-Bit Electronix CEO — and company co-founder — Andrew Ikenberry. Indeed, that ‘New-Bit’ moniker really reflects the company’s collective internal name for its new design philosophy of focusing on hands-on, approachable devices that leave room for users to push their own technique and explore sound design in new ways.

With this in mind, Mojave is no exception to this rule; for its front panel includes the fundamental controls for generating and manipulating grains — themselves the tiny building blocks of granular synthesis. Adjust a grain size, shape, and generation rate while also having control over the grain pitch, the position in time where the grain grabs audio, and the audio playback direction. Though these controls are essentially found in any granular processor, they only scratch the surface of Mojave’s potential.

Put it this way, then: the key to Mojave’s magic resides in the controls at the centre of the module. The two larger knobs there are absolute attention-grabbers — and for good reason, providing aleatoric grain manipulations in exciting, unquestionably ‘Qu-Bity’ ways. Turn the distribute knob to add rhythmic displacement to the grain rate; depending on which Mojave mode is selected, distribute’s displacement can either be asynchronous movements through time or quantised ratchets, repeats, and rolls that liven up the simplest of rhythms. Representing the flip side of the granular coin, as it were, the structure knob adjusts each grain’s pitch within a defined system. structure can — at its smallest setting — provide subtle semitone pitch changes, perfect for thickening up a sound, creating chorus/flanging effects, and more. But by turning up structure beyond halfway, Mojave begins to sing. structure starts to play through a quantised scale, introducing arpeggios and trills as the knob ventures further up; with the grain size large enough for grains to overlap, Mojave effortlessly transforms into a polyphonic sound generator — regardless of input.

Said structure knob and its rate (speed) neighbour are connected to Mojave’s Sky Mode — itself selected using the button in between distribute and structure — that determines what scale Mojave is quantised to. The default modes include major, minor, and chromatic scales, as well as the aptly-named, non-quantised Twilight Mode. Moreover, each mode will be fully customisable — alongside a host of configurable settings — within Narwhal, Q-Bit Electronix’s module web app (https://narwhal.qubitelectronix.com/) for custom settings.

Since Mojave boasts true stereo I/O, it includes a couple of controls that emphasise this characteristic. drift does exactly as its name implies; it drifts the grains through the audio buffer, and the more the knob is turned, the more Mojave begins to slip into the past, grabbing random bits of audio from both signal channels to fill its grains. An adjacent whirl control provides random stereo panning to each generated grain; the more this knob is turned, the more frequent and wider the grains are panned, creating huge stereo sounds from any sound source — stereo or monophonic.

Mojave has more than one way to inject sound into its granular sandstorm, speaking of sound sources. Indeed, it even has an onboard, high-quality MEMS (Micro- Electro-Mechanical System) microphone that is positioned just above its USB port; simply removing any patch cables from Mojave’s audio inputs makes the microphone active, ready to pick up any acoustic audio! Try talking or singing into Mojave — or even play an acoustic instrument in a live setting — to bring granular flair to compositions.

Clearly, then, Mojave is primarily designed for live granular processing, yet users are afforded an ability to not only freeze the grains in place for glitch stutter effects, but they are also able to lock the audio buffer in place, thereby using Mojave as a granular buffer scrub; Mojave — at the right settings — can even mimic the time- stretching effects of its bigger granular sampler and DSP (Digital Signal Processing) platform sibling, Nebulae, now benefitting from v2.1.2 firmware itself. It is worth noting here that future firmware updates and alternative firmware for Mojave are accessible via its USB drive.

Meanwhile, Mojave’s granular engine can generate a plethora of audio effects that will transform any sound. Saying that, Q-Bit Electronix even included one final end-of- chain control to add some sparkle to an already dazzling device — namely, the gust knob. Which way it is turned determines control over either an internal feedback loop designed to tear grains apart in the best way or a lush reverb effect to fill the voids between the audio — alternatively, granular-textures-into-a-wash-of sound-morphing.

“Mojave is the module that’s gotten me excited about patching again,” admits Andrew Ikenberry, alluding to its configurable dune CV/Gate output and more connectivity besides, before enthusiastically continuing towards a natural conclusion: “There is something to be said about designing individual aspects of a module, not fully knowing how each part will interact with another; as such, Mojave has created sounds that I’ve never heard before, and it’s this journey into the unknown that — as a designer — gives me the opportunity to sit down and discover every corner of this amazing device along with everyone else.”

Check with dealers on the right for availability.

Moog Sub 37 & Novation Summit - Romantic Synthology

video upload by eM

"Enjoying a love synthomy between the Novation Summit and the Moog Sub 37. A simple midi overlap of channels Mastered from the Novation Summit playing over the Moog Sub 37. These two synths together sound incredible. The Novation Summit Will Never Fail In Offering It's Lushful Soundscape. It gets you there.

For those watching I hope you'll enjoy, and if you have a synth that you haven't played in a while that gave you a soundful pleasantry then I hope you will revisit and rediscover a sound that makes you happy."

Roland JD-800 | The Industrial Pulse Width Pad

video upload by MIDERA

"I think people believe the JD-800 doesn't have the ability to do Pulse Width Modulation - but I think it does a pretty good job of approximating it using multiple waveforms that overlap to create that distinct sound.

Unfortunately, after finishing the recording, I found that my camera had stopped filming half-way through, so I had to collect some extra footage I had lying around towards the end.

Eventide Blackhole VST used for extra reverb."

https://open.spotify.com/artist/0Frpq...

https://midera.bandcamp.com/album/the...

Cyclon Ltd. ME Analog Synthesizer

video upload by Chris Chrome

"80er Jahre DIY Synthesizer, Projekt"

Note there are two videos in the playlist above that appear to be the same. Including both in case one is removed. Use the player controls to skip to the next video if the first disappears. I also captured a few screenshots below. Click on them to zoom in. That out of the way, if anyone has any additional info feel free to leave a comment. This is the first post to feature Cyclon Ltd on the site. It appears to be a prototype and/or DIY, but who knows... If you know, leave a comment. Note the center Cyclon appears to be CYCCON, but you can see elsewhere on the synth it is Cyclon.

Check out the New Old label for other rare and older synths making their first featured on the site.
Check out the Exclusive label for posts featuring the rare of the rare. There is of course some overlap.

CLICK FOR MORE »

Soundtoys Introduces SuperPlate - Featuring Five Modeled Classic Electromechanical Plates

video upload by soundtoys

"Meet the must-have plate reverb plug-in from Soundtoys and explore the legendary gear that inspired it. SuperPlate brings the unique tonal character of five classic electromechanical plates into your studio – without the massive investment and back-breaking weight of the originals. Its advanced algorithms capture a level of unmatched realism and versatility and create luscious, expansive effects.

Available now at www.soundtoys.com.

Sound design by Bryn Bliska – @brynbliska • www.brynbliska.com"



At the core of SuperPlate are meticulous models of the EMT 140, EMT 240, Audicon, Stocktronics RX4000, and EcoPlate III reverb units. Its three different flavors of analog coloration – Tube, Solid-State and Clean – can be used in combination with any of SuperPlate’s styles. Its wide range of modern digital features includes infinite decay time, built-in predelay, expanded modulation controls, full-featured EQ for detailed tonal shaping, and a unique decay ducking option that adjusts decay time to reduce overlap or build-up.

Soundtoys Introduces SuperPlate at NAMM

via @Soundtoys

"If you're at the NAMM Show come see us at booth #15922. We'd love to see you! We're also showing off our brand-new SuperPlate plug-in, shipping next month."

Press release follows:

April 13, 2023 (ANAHEIM, CA) – The Soundtoys crew is demonstrating the new and eagerly awaited SuperPlate plug-in during the NAMM Show at booth #15922. SuperPlate, along with the Soundtoys V5.4 bundle, is expected to ship some time next month.

SuperPlate emulates the unique tonal character of five classic electromechanical plate reverbs – without the massive investment and back-breaking weight of the originals. Its advanced algorithms capture a level of unmatched realism and versatility and create luscious, immersive effects.

At the core of SuperPlate are meticulous models of the EMT 140, EMT 240, Audicon, EcoPlate III, and Stocktronics RX4000 plate reverb units. SuperPlate includes three different flavors of analog coloration – Tube, Solid-State, and Clean – which can be used in combination with any of SuperPlate’s styles. The Tube and Solid-State modes are modeled on the EMT V54 preamp for tube saturation and the EMT 162 preamp which has a built-in compressor to help tame transients.

SuperPlate also includes a range of modern digital features, including infinite decay time, built-in pre-delay, expanded modulation controls, full-featured EQ for detailed tonal shaping, and a unique decay ducking option that adjusts decay time to avoid overlap or masking.

“We love the sound of real plate reverb and wanted to bring the distinctive sound of our vintage plate collection into the world of modern audio. It’s been an incredible challenge working with these massive electromechanical wonders – shipping, repairing, and tuning nine of them at our labs as well as others in private studios,” said CEO and lead designer Ken Bogdanowicz. “After analyzing and living with these devices for several years our team captured the true essence and variety of tones from the five different plate reverbs that we modeled for SuperPlate. We always try to take our effects beyond ‘simple emulations’ and with SuperPlate I feel like we found the perfect balance – switchable modeled preamp styles, built-in parametric EQ, and extended and dynamic decay time – to make SuperPlate a versatile go-to reverb effect. It sounds great and it’s fun and easy to use.’”

The latest version of the Soundtoys 5 bundle brings together an expanded range of 22 audio effects, including the new SuperPlate plug-in. In Soundtoys 5.4, SuperPlate is also integrated into Effect Rack with a stunning new suite of presets. SuperPlate is an optional add-on for those who own the Effect Rack plug-in but not the full Soundtoys 5.4 bundle.

“We’ve wanted to add a high-end reverb to Effect Rack since it was first released. Now with the option of using SuperPlate in Effect Rack, the creative sound design possibilities have exploded. The combination of reverb, pitch, modulation, and distortion effects all in one plug-in, with easy drag and drop routing and tweaking, have inspired our sound designers to create dozens of new effects just in the past few days that they’ve had access to this update. I can’t wait to hear how our customers use this!” – Ken Bogdanowicz
In this super-powered collection, users can saturate, compress, and distort with Decapitator, Radiator, and Devil-Loc. Get a virtual history of echo and delay hardware with EchoBoy, EchoBoy Jr, and PrimalTap. Transform vocals with Little AlterBoy. Recreate classic studio pitch, chorus, and widening effects with Crystallizer and MicroShift. Take modulation to new levels with the beat-synced rhythmic effects of PanMan, Tremolator, FilterFreak, and PhaseMistress.

Now with the new SuperPlate reverb, Soundtoys 5.4 bundle allows for even more power to create complex soundscapes, unique textures, and dynamic sonic movements. The limitless versatility of this proven, world-class plug-in bundle unleashes the creative potential to enhance or transform any audio project – and version 5.4 is the strongest yet.

PRICING
SuperPlate will be sold individually for $149 MSRP or as a trade-up from Little Plate to SuperPlate for $59.
Soundtoys 5.4 will be available for $499 MSRP or as an upgrade from Soundtoys 5.3 to 5.4 for $59.
SuperPlate can be added to the Effect Rack plug-in for $59.

https://www.soundtoys.com

Breath of the clouds | Peaceful ambient music with UDO Super 6

video upload by MIDERA

"Today I had a chance to test out a UDO Super 6 when a friend (Avery) visited. They wanted to check out my Jupiter 6 and borrow a friend's synth which was stowed away at my place for a while. They were kind enough to bring the Super 6 along for the ride.

So what did I think of the Super 6? It's a bit hard to say honestly, if only because it was in my studio for about an hour and I only really messed with it for about 20 minutes total, including playing this.

I found the naming convention similar to that of the DW8000 - where things were sort of not easy to understand right away - like MG for LFO (on the DW and I'm sure other Korg's of the era). Whatever, it's more on me for not understanding that aspect.

I did have this weird sort of thinking that... I actually think the System 8 held up really well - and strangely, I actually am starting to think maybe I like how my System 8 looks. How can this even happen... I don't know. I think once you start bonding with things, even if they don't look great they still are really unique in other ways.

That said, obviously the System 8 is sort of on a lower tier than the Super 6 in terms of build quality and everything else.

I will say that I could understand someone parting with a Jupiter 6, Juno 6/60/106, and System 8 in order to grab the Super 6. It really does a lot of those things well. I am actually wondering why not sell the Jupiter 6 for the Super 6.

So now that's point number 2 - how does the Jupiter 6 compare? Well... I think I'll need to sleep on that. Maybe I'll write something similar with the Jupiter 6 and see how I feel about it. I will say that there is an incredible amount of overlap on the two.

I think the Jupiter 6 looks cooler though :P

And something that I tried to hide (because it showed up at the beginning and I removed it) and did hear somewhat throughout this video... I could hear clicking when I pressed the keys even when the attack was set to very slow. I wonder what that's about or if it's some weird thing with the delay? I don't know."

Modbap TRINITY Overview - Drum Synths, Cycle Modes & Stack Modes

video upload by Modbap Modular

Update: basic operations video added below.

"TRINITY is a 3 channel Digital Drum Synth Array packed into a 20hp eurorack synthesizer. Effectively, Trinity performs as 3 powerful drum voices packaged into one beastly drum module with a few tricks up its sleeve.

In this video we will explore the 4 drum synth algos...

BLOCK (Analog Inspired): Drum synth building blocks featuring sine and triangle core. Great for traditional electronic drum creation.

HEAP (Additive): Additive drum synth with 12 partials. Great for fun natural sounds and pitched percussive sounds (i.e. bells, chimes, steel drums, and wood blocks etc.).

NEON (FM): FM drum synth engine. Great for high quality FM drums, clangorous metallic percussion and more.

ARCADE (Noise): Quirky noise generator synth, reminiscent of classic 1980's arcade games sounds - zaps, crashes, explosions etc. Great for claps, hats, even some vinyl noise approximations, and all sorts of fun percussive and degraded noises.

Sections
00:00 Intro
00:15 Block Drum Synth
03:56 Heap Drum Synth
06:23 Neon Drum Synth
08:30 Neon Drum Synth

Trinity is available and shipping now."

Modbap TRINITY Overview - Cycle Modes & Stack Modes

video upload by

"In this video we will explore the Modes...

Cycle Modes
The cycle modes can be enabled and disabled per channel.
‘Round Robin’ mode will switch between each drum synth type sequentially with each new trigger to the drum channel.
‘Random’ mode will generate a new random drum sound with each new trigger to the drum channel.

Stack Modes
The stack modes group the channels together allowing 2 or 3 drum channels to be triggered by the primary channel’s trigger and v/oct inputs.
Stacked drums can be spread out similar to unison mode on a traditional synthesizer. Stack modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out depending on the content of the chopped source material.

Sections
00:00 Intro
00:46 Cycle Modes: Random
03:23 Cycle Modes: Round Robin
04:58 Stack Modes: 2 Stacks & 3 Stacks"

Update:

Modbap TRINITY Overview - Basic Operations


Sections
00:00 Intro
00:15 a note about the patch panel
00:30 a note about the usb midi connection
00:50 Channels
01:54 Selecting Drum Types
02:49 Two Ways to Select a Drum Channel
03:33 Tweaking Parameters of Drum Synths
04:45 What do these knobs do?
07:12 Output Matrix & Switches

See the Modbap label below for more.

Modbap Trinity - 3 Channel Digital Drum Synth Array Eurorack Module

video upload by Modbap Modular

"TRINITY is a 3 channel Digital Drum Synth Array packed into a 20hp eurorack synthesizer. Effectively, Trinity performs as 3 powerful drum voices packaged into one beastly drum module with a few tricks up its sleeve.

The name Trinity refers to the 3 drum channels and tips its hat to the core elements of any modern beat driven composition which is typically Kick, Snare and Hat. Trinity takes this simple idea and flips it on its head with 3 channels and an array of drum synth algorithms that use various types of synthesis (Subtractive, Additive, FM & Noise) allowing for a wide array of drum design capability that achieves and reaches far beyond the conventional."

Modbap Trinity Introduction

Press release follows:

Modbap Modular expands Eurorack module lineup with Trinity debuting as a DIGITAL DRUM SYNTH ARRAY at Knobcon Number Ten

LOS ANGELES, CA, USA: black-owned Eurorack modular synthesis and electronic musical instrument manufacturer Modbap Modular is proud to debut Trinity — the fourth entry in its expanding Eurorack product lineup as a three-channel DIGITAL DRUM SYNTH ARRAY, as the appropriate wording on the distinctive-looking, triple-colour-highlighted-branded front panel in reference to effectively performing as three powerful drum voices packed into a 20HP module with a tip of the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition subtly suggests, albeit with some neat production tricks thrown into the musical mix — at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11…

“Trinity has evolved over time to become what it is today.” Modbap Modular founder/owner/designer Corry Banks is perfectly positioned to introduce Trinity to the musical masses, historically highlighting its interesting journey getting there thusly: “I wanted a drum module that would allow me to have a simple-yet-smacking kick, snare, and hi-hat in one module. I also wanted to play outside of that simplicity with malleable percussion synthesis. Trinity had to have a degree of hands-on control, together with a good deal of CV and/or MIDI control. I get into sound design, too, so Trinity had to serve me well in that area, and it does not disappoint. Trinity is all of that, while finding a way to introduce a few interesting and fun quirks as well.”

With that being said, Trinity takes the simple idea of tipping the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition and flipping that on its head by combining its three channels with an array of drum synth algorithms that use various synthesis types — namely, BLOCK (analogue-inspired drum synth building blocks featuring a sine and triangle core; great for traditional electronic drum creation), HEAP (additive drum synth with 12 partials; great for fun, natural sounds and pitched, percussive sounds), NEON (FM drum synth engine; great for high-quality FM drums, clangorous metallic percussion, and more), and ARCADE (quirky noise generator synth, reminiscent of classic Eighties-era arcade games with zaps, crashes, explosions, and more; great for claps, hi-hats, and even some vinyl noise approximations, as well as all sorts of fun percussion and degraded noises) — to allow for a wide variety of drum design capability that achieves and reaches far beyond the conventional. Clearly living up to its front panel-positioned DIGITAL DRUM SYNTH ARRAY wording, which immediately steers its users into a certain way of thinking, Trinity’s array of digital drum synth algorithms are very malleable, thanks to the seven sizeable knobs and four mini-pots positioned in the upper half of that distinctive-looking, triple-colour-highlighted-branded front panel. Put it this way: each control a specific parameter and characteristic — PITCH, SWEEP, TIME, SHAPE, GRIT, DECAY, EQ, CLIPPER, HOLD, VOL (volume), and, of course, CHARACTER — for each drum voice. The three — DRUM CV1, DRUM CV2, and DRUM CV3 — channels each have their own TRIG (trigger) and V/OCT (one-volt-per-octave) inputs in addition to extensive CV input options, all available for front panel-positioned patching purposes.

Trinity takes its capabilities several steps above and beyond anything comparable in the modular Eurorack world with cyclical (C. MODE) options offering round robin and random playback, as well as two STACK modes. Musically, round robin cycles through the drum algorithm types one after another with each trigger, while random randomises the parameters of a channel’s chosen drum algorithm type with each trigger. Those STACK modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out, depending on the content of the chopped source material. Trinity’s take on that allows the second and third drum channels to be triggered by the primary channel’s TRIG and V/OCT inputs; in addition, ‘secondary’ STACK SPREAD functionality allows for fanning out the stacked drums to taste.

Trinity’s uniquely performable and switchable OUTPUT matrix allows for the routing of each drum channel’s output to the MIX output, the individual — DRUM1, DRUM2, and DRUM3 — output, or ALL. As such, easy performability, mutability, parallel processing, or side chaining are all perfectly possible.

Thereafter, Trinity’s USB MIDI connection allows for MIDI control over various parameters via one USB cable. Clearly, USB MIDI makes instant integration a cinch by simply connecting one USB cable from Trinity to a groove-box or computer.

All in all, then, Trinity packs a hefty percussive punch, weighing in at a 20HP width with 11 knobs, three drum channels, three trigger buttons, four drum algorithms based on four different synthesis types, 24 CV inputs, three-output switching with three individual outputs, a mix output, and MIDI-over-USB connection belying its 26mm depth. Concludes Corry Banks: “I think we’ve achieved a good deal more than we even initially set out to do with Trinity.” That’s really saying something — all the more so since the truly talented individual concerned holds an Associate’s Degree in Electronics, a Bachelor’s Degree in Technology Management, and a Master’s Degree in Project Management! After all, Trinity truly is a percussive powerhouse of synthesis — so much more than a simple-yet-smacking kick, snare, and hi- hat in one module, but rather a Eurorack module like no other... one which is bolstered by its inclusion of a bunch of really dope-sounding synth algorithms with which it does not disappoint.

Duly making its debut at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11, anyone wishing to see (and hear) Trinity in action in advance of shipping should seriously consider checking it out there — assuming, of course, that they are in the general vicinity or prepared to travel at short notice if not already attending.


Expected to ship in mid-October 2022, Trinity is available to preorder at an MSRP (Manufacturer’s Suggested Retail Price) of $549.00 USD via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/trinity

Moog Mavis vs. Mother 32

video upload by John Schussler

"Do you need both a Mother 32 and a Mavis? How do they complement or contrast one another? Inquiring minds want to know.

I'm not going to go over all the features and specs, I'm just interested in how they sound. How much overlap is there?

Note that the LFO on Mother doesn't go nearly as far into audio rate as the Mavis does, and doesn't track as well, so I gave up on doing a "two oscillator mode" comparison. Didn't seem fair.

Sequence is just me banging keys on an Arturia Keystep 37.

00:00 Intro
00:20 Saw wave, VCA
02:26 Square wave
05:30 Envelope to VCF
09:28 Faster sequence
17:14 2nd VCO, folding"

Modular Synthesizer jamming with Tiptop Audio

video upload by OVERLAP

"in this video I'm particularly focused on showing what kind of organic sound you can get from one sampler player modular, the fun part started when I include the Buchla Dual Oscillator (out) patch into Fold Processor wave Multiplier (in) an then patch to Forbidden Planet Analog Filter to VCA ( Voltage Controlled Amplifier), and of course the Z4000 Voltage Controlled Envelope Generator help a lot to shape the sound of the Buchla, adding in top the Z-DSP VC – Digital Signal Processor for feedback delay."

GROUND CONTROL Firmware V.2: external CV modulation matrix, scales, modulation output

video upload by Endorphin.es

"This video describes new features added in the v2.00 firmware for the Ground Control like scales or external cv.

Firmware is available and recommended to download for all the users:
https://www.endorphin.es/modules/p/gr...

Release notes v.2.00: 29.12.2021

- CV modulation matrix added: 4 assignable CV inputs to various sequencer parameters: pattern shift, semitone and octaves offset, shuffle, ratchets, slide, gate length, CV to CC values and pattern change. Assign via TEMPO - E/ext. cv
- scales added. Selected via TEMP - N - PATT selects preset scales, TRANSPOSE-/+ selects the root note. Pressing any of the keys adds/removes them from the scale.
- TAP tempo button can be disabled in menu via TEMPO - M - C to not accidentally press it during the performance and change the tempo via: TEMPO - M - C (on/off).
- during the live pattern select shut off the key LEDs because sometimes when they overlap the patterns you can load wrong project
- pattern live mode in lock mode - changes the patterns now is sync tight
- various JSON parser fixes
- in live pattern select mode TAP also selects another project instead LAST STEP but after new project loaded it returns back to live pattern mode
- F/mod. menu improved. LAST STEP button enables smoothing/stepped modulation output
- fully rewritten manual with all v2 firmware features:
https://manuals.endorphin.es/Ground_C..."