Synth Diy Guy Featured Builder: Vinicius Brazil!

Published on Sep 2, 2017 Synth Diy Guy

"A visit and a chat with my partner and teacher Vinicius Brazil of VBrazil Modular.

Here´s a translation of our conversation:

https://www.dropbox.com/s/slwj5baadyx..."

" SYNTH DIY GUY - Featured Builder - Vinicius Brazil
Q - Hi Vinicius! V - Hi
Q - All good? V - All great!
Q - Tell us a little bit about your path, how you got started with electronics and music.
V - I arrived at electronics thanks to music. When I was a kid, 15 years old, I got my first guitar, and in Brazil it was very expensive to acquire guitar pedals. So I started to take some of my friends’ pedals and study their insides, this was in the 60 ́s, and from there I started making my own pedals. Copying at first, then creating muy own solutions. This got me excited and I went on to study Electronics and graduate college as an Electronic Engineer.
Q- Cool, and what kinds of pedals did you make at first?
V - All were guitar pedals. I started of course with fuzz and distortion, then on to more sophisticated things like flangers, phasers and delays. This was during the 70 ́s. In the end of the 70 ́s synthesizers started attracting me. That ́s when I built my first semi modular synth in 1978/79.
Q - Do you still have that synth?

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Synthesizers.com Studio - 44 Studio System With Garage and Klee Sequencer

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

via this auction

"Here is a list of the modules included:

- Q 119 Sequential Controller
- Q 171 Quantizer Bank
- Q 106 x 4 Oscillator
- Q 110 Noise Source
- Q 117 Sample and Hold
- Q 107 State Variable Filter
- Q 124 x2 Multiples
- Q 109 x 2 Envelope Generator
- Q 127 Fixed Filter Bank
- Q 101 Power Control
- Q 104 Midi Interface
- Q 105 Slew Limiter
- Q 112 x 2 4-Channel Mixer
- Q 116 Ring Modulator
- Q 125 x2 Signal Processors
- Q 118 Instrument Interface
- Q 150 Transistor Ladder Filter
- Q 108 x 3 VCA
- Q 109 Envelope Generator
- Q 102 Power Interface"

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severence // magnetar patch

Published on Sep 3, 2015 severence

http://www.evatontechnologies.com/

"// experimenting with rf noise while making patch notes for the synchrodyne resonestor video

// modules used in this patch

addac802 vca quintet mixing console
abstract data logic boss
alm pamela's workout
evaton technologies rf nomad
intellijel planar
jones o´tool
make noise dual prismatic oscillator
make noise mmg
make noise rené
modcan quad lfo
mutable instruments clouds
nonlinearcircuits super sloth
schippmann vcf-02
steady state fate positronic transient gate
steady state fate propagate
steady state fate ultra-random analog
toppobrillo quantimator
wmd sequential switch matrix
wmd sequential switch matrix expand
wmd synchrodyne
wmd synchrodyne expand
wmd/ssf spo

// patch notes

addac802 vca quintet mixing console (a) out1 - schippmann vcf-02 input1

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Waldorf Blofeld Synthesizer Desktop Version

via this auction

"Offspring from a noble house - the little synthesizer machine with the big and evil sound.
Waldorf is back in the game. With the Blofeld. This synthesizer offers all the unique qualities that made Waldorf a truly legendary brand.

The engine inside the heavy duty, full metal chassis of the Blofeld delivers the same fat and rich sound that so many Waldorf users worldwide love when they play their Pulse, Q, Q+, Micro Q, Microwave, Microwave II/XT, or even the flagship Wave.

Yes, you've heard it right. The Blofeld is not only capable of producing these warm, organic analog sounds known from the Q synthesizer line, it also sports a wavetable engine like its predecessors with "Wave" in their names.

This unique synthesis system is based upon the revolutionary PPG Wave synthesizers of the early 80s. So when you listen to the Blofeld for the first time, you will instantly recognize those edgy, hard-hitting and bell-like timbres that have been an integral part of so many world hits from the PPG era on, and become increasingly popular once more.

In fact it is amazing to realize that nowadays this complex technology fits into such a slim and elegant device. And for a price no-one would have imagined a couple of years ago.

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MOTM-101 Noise/Sample and Hold

via this auction

"MOTM-101 Description

'The MOTM-101 is an essential part of any synthesizer system. It is a dual-function module, where the Noise Generator is linked to the Sample/Hold section without the use of patchcords. Each section can operate independent of the other.

NOISE GENERATOR

The Noise Generator uses 2 Zener diodes to create White Noise. This White noise contains spectral harmonics from near DC to well above hearing. This type of noise is useful for simulating cymbals, ocean waves, static, and other types of "nature" sounds. It is also useful in generating random signals into the Sample & Hold, and for aperiodic, high-speed clocking.

The White Noise is low-pass filtered at approx. 2500Hz to create Pink Noise. Pink Noise is useful for lower frequency sounds such as thunder. The Pink Noise is filtered even more to generate Random Output, which can randomly modulate filters and VCOs.

These three types of noise are found on many synthesizers. However, look closely and you will see the jack labeled VIBRATO, and its associated control pot! This is a MOTM exclusive: a high-Q bandpass filter (the panel control controls the Q) that generates sine waves centered around 7Hz of random amplitudes (and slightly varying frequencies as well). On the panel, a switch selects driving the bandpass filter with either white noise or the internal/external clock from the Sample & Hold section. When the panel switch selects white noise, the vibrato output is a 'wandering' sine wave, perfect for adding realistic vibrato and tremelo. If the switch is in the clock position, each time the clock cycles the output filter rings in a dampened sine wave (the ringing amount set by the panel control). When fed to a VCO, the VCO makes a unique "bbbooooiiinnngggggg" sound.

SAMPLE & HOLD

A Sample & Hold circuit is a sort of voltage memory: each time the clock generator cycles, the signal on the INPUT jack is captured and stored on a special capacitor. This voltage is buffered and fed to the OUTPUT jack. Even with many seconds between samples, the output voltage remains nearly constant (since no circuit is perfect, the output voltage will droop, but at a miniscule rate on the order of 1mv per second). The MOTM-101 contains an internal clock oscillator, whose speed is set by the panel control. A red LED flashes at the clock rate. Plugging another clock source (VCO, LFO, etc) into the EXTERNAL jack over-rides the internal oscillator.

Again, a Sample & Hold is a part of all synthesizers....but wait! Hmmmm...what's that switch marked Track/Hold? Another MOTM exclusive! In the HOLD position, the circuit acts like a "normal" S/H: the output is held steady at the start of each clock cycle. But, in the TRACK position, the output follows (tracks) the input when the clock is low (less than 1.5 volts) and holds the output when the clock is above 1.5 volts. If you are familar with TTL digital logic, this mode is referred to as a 'transparent latch'. From a musical standpoint, this can generate more unique sounds than other S/H modules.

The SLEW control adds portamento or glide to the S&H output. It can be adjusted from zero to 10 seconds.'"

New Module From Make Noise Event at Perfect Circuit Tonight at 7 PM

video upload by Perfect Circuit

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.

Module details added further below.

Additional details via Make Noise:

"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...

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More wicks v Dino action

YouTube via grandtippler
"Wicks looper and Dinoaxe make noise.
You can find these noise making beasties here: http://makersmarket.com/sel..."

See the site for more. Some descriptions for the archive:

"The DinoAxe makes noise, the noise is weird.

This fun little device is a mini synth that uses two controls to make an interesting and diverse range of sounds.

The unit has two basic controls, Speed and Freq. The speed control has two functions; modulation and wobble. In Modulation mode the DinoAxe repeats the sound with a varying delay. In wobble mode the speed control varies the frequency in a sine wave pattern. The two functions are selected by rotating the speed control knob all the way counter clockwise. The Freq control varies the frequency of the sound, the first half of the control range is tones from low the high frequency, and the second part of the range is noise, noise, and more noise.

The output is via a 3.5mm stereo socket which can be plugged into earphones, a computer sound card, mixer or amplifier. I used a little vox amp in the video.

* The DinoAxe is powered by a 9v Battery which is not included due to shipping restrictions.

Happy noise making
RareBeasts"

"The Wicks Looper is a small handmade device that allows you the create real-time noise loops and sound effects.

This fun little device will allow you to build up a sound loop in real time using the tempo, sound and write controls.

The wicks looper has 3 main controls; The sound control adjusts the frequency of the tone in the first half of the dial and the level of noise in the second half of the dial, giving two distinct sounds. The second control is Tempo, which controls how fast the loop is played. Write the loop at a slow tempo then speed it up for a great effect. The third control is the write button, when pressed it writes a sound to memory which is then replayed next time the loop is run. With the sound control knob adjusted anticlockwise, you can add a rest to the loop by pressing the Write button.

The output is via a 3.5mm stereo socket which can be plugged into earphones, a computer sound card, mixer or amplifier.

* Item shipped from Australia, all prices are in US$.

* The Wicks Looper is powered by a Common 9v Battery which is not included due to shipping restrictions.

Happy Shopping
RareBeasts"


"The Wicks Looper – Acid Mix is a small handmade device that allows you the create very fast noise loops, by adding layers of sound in real time.

The wicks looper has 3 main controls; The frequency control adjusts the frequency of the noise, the first half of the range is tame, the 2nd half is uncut noise. The second control is Speed, which controls how fast the loop is played. The right hand side of this control plays the loop, forwards, turn the control to the left and the loop will play in reverse. Write the loop at a slow tempo then speed it up and reverse it, for a great effect. The third control is the write button, when pressed it writes a sound to memory which is then replayed next time the loop is run. With the Freq control knob adjusted anticlockwise, you can add a rest to the loop by pressing the Write button.

The output is via a 3.5mm stereo socket which can be plugged into earphones, a computer sound card, mixer or amplifier.

* The Wicks Looper Acid – Mix is powered by a Common 9v Battery which is not included due to shipping restrictions.

Q: What is the difference between the normal Wicks Looper and the Wicks Looper – Acid Mix?

A: The Acid Mix version plays loops about 4 times faster by making the sound played very short, it gives a ruff, out of control sound. The Acid Mix will also plays loops in reverse.

Happy noise making,
Rarebeasts"

JoMoX M.Brane11 Analog Membrane Modeling Percussion Synthesizer

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

"Manufacturer Description:
Analog Membrane Modeling.

Two analog T-bridge oscillators become electronic membranes.
Why? Because they can be coupled.
And because their dampening can be controlled.

Then add a little noise, add a little envelope, and the brand new electronic percussion synthesizer of Jomox is ready.

But because this would have just been too simple, everything is storeable again and controllable by Midi.
You can use this small box either in a live setup driven by a hardware sequencer or in a production as very versatile synth in order to create incredible analog electronic percussions.

How does it work?

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NOT NAMM: Jomox M.Brane11

"Analog Membrane Modeling.

Two analog T-bridge oscillators become electronic membranes.
Why? Because they can be coupled.
And because their dampening can be controlled.

Then add a little noise, add a little envelope, and the brand new electronic percussion synthesizer of Jomox is ready.

But because this would have just been too simple, everything is storeable again and controllable by Midi.
You can use this small box either in a live setup driven by a hardware sequencer or in a production as very versatile synth in order to create incredible analog electronic percussions."

Update: some additional info added:
"How does it work? (the impatients may scroll down for specs and audio samples)

A T-Bridge oscillator is actually something like a band pass filter which is working close to the resonant frequency. Because it becomes an actual sine oscillator at perfect tune-up, you call the deviation of ideal resonance dampen. In this case, the oscillator decays in form of an attenuated vibration if it's exited - similar to a single membrane that is hit.

In the M.Brane 11 there are two of such T-OSC. The dampen can be either negative (as just described) or positive. Then it really becomes a steadily vibrating oscillator. The more negative the dampen is, the more the T-OSC becomes a filter with sharp q-factor (quality). This can be useful at e.g. snare drums or hi hat-ish sounds.

Looking at the drumskins of an acoustic drum, there are 2 membranes positioned that modulate and interact with each other by the coupling through pressure waves of the content air. That produces the typical sound of a drum. By resonance and counteractive interference new frequency bands and overtones create.

Similar to that the parameter Coupling works at the M.Brane11. Both, in the first place independently vibrating T-OSCs, can attenuate or gain the vibration of the partner by means of negative or positive coupling on either ways (1_2 and 2_1). With lightfingered tweaking you get these interesting membran-like dampened sounds, especially by cross-wise positive/negative coupling.

The values can be very close to another. Therefore it is a great advantage that the M.Brane allows for storing the parameters, because sometimes tiny value changes can cause great sound changes if the system is close to a chaotic state.

The M.Brane is definetely something for sound nerds - less for preset-twiddlers, as the manifold and sensitive modulation settings want to be explored and played with.

In Split Mode 2 both the T-OSCs can be played over the keyboard, which again causes creativity to rise.

The LFO can either modulate a choice of one T-OSC or both. It always restarts with the note trigger and works like an additional pitch envelope.
Two frequently asked questions may be pre-answered here: No, the LFO can not be midi clock syncronized, and: No, the LFO isn't very fast. Both things would absolutely make no sense in this product (percussion!) and are also for technical reasons not possible to realize.

In order to create snaredrum-like sounds, the M.Brane has a noise generator with an own envelope. A part of this signal is fed into the T-OSC to exite the "membrane" with the noise signal. The noise can be wether white noise or metal noise.

The length of noise decay and the decay of the resulting tone are controlled by two different envelopes that are commonly controlled by the parameter Decay."

Specifications
Instrument Percussion Synthesizer
Membrane Oscillators 2 T-OSC, each of tune and dampening adjustable, both couplings in either direction adjustable
Presets 110 (10 User RAM, 100 FLASH)
Sound Engine Fully analog with storeable parameters
Envelopes 2 analog envelopes for membranes and noise that are controlled by one parameter (decay)
Noise White Noise, Metal Noise with 65535 different noise pattern combinations
Gate Trigger gate time 0.5ms-10ms, up to 4-times multi trigger possible
LFO 8 wave forms: Saw +/-, Sine +/-, Tri +/-, Rect +/-, modulates the pitch of one or both the T-OSC, starts always syncronous to the note trigger and is pitch envelope at the same time
Display LED 7 segment 3 digits
Midi Midi In, Midi Out
User Interface 1 data wheel, 1 potentiometer, 5 buttons, 16 LEDs for parameters and functions
Outputs 1 mono out 1/4" RCA jack
Output Level About 0dBu
Input External analog trigger input, sensivity adjustable
Power Supply External wall wart adapter 9V DC
Weight Ca. 0.5 kg, 1.1 lbs.
Size 145x155x35mm

Samples and more images on the Jomox website.

via xonox

Noise VCA CG-Products Unboxing

Published on Aug 20, 2018 Dziam Bass

"Noise VCA from CG-Produts which has just arrived to us.
Noise VCA is a noise generator with variable state VCF and VCA
All in one module. "The white noise generator, followed by a VCF with variable values ​​(switched between bandwidth, high or lowpass characteristics) with adjustable resonance (Q) and VCA, makes this module ideal for most standard noise applications. the filter provides a wide range of rich and colorful noise sounds, the VCF has a second input that allows you to combine external sound with noise or completely replace the VCF noise input with an external source.
What's more, there is a subsonic output that provides a random resume for modulation.
CV VCA mode can be switched between exponential or linear expansions with the muting option when the switch is in the middle position; The "Offset" knob allows you to move the VCA starting point by adding negative or positive voltage to the CV VCA input.
http://www.cg-products.de"

Serge Dual Q Filters

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

via this auction

"Audio Mixer w/ phase switch (3x1) (AMX)

The Audio Mixer is a three-in/one-out manual mixer with a phase switch on input 3.

Variable Q VCF (VCFQ)
The VARIABLE Q VCF (VCFQ) is an excellent general-purpose VCF offering simultaneous low-pass, high-pass, band-pass and notch (band-reject) outputs.The resonance (Q) of this filter is dynamically variable by manual or voltage control. The VCF Q has two signal inputs. One incorporates an automatic gain control to prevent the filter from overloading at high Q settings. The second input has a level control so that the percussive effects of overloading the filter can be exploited. When a pulse is applied to the Trigger input, the filter will ring, producing a damped waveform similar to that produced by striking a resonant object. The nature of this ringing is controlled by the Q and the filter frequency. Percussive effects ranging from clicks to the soundof wood blocks and bell tones can be produced and controlled. This ringing effect can be used in conjunction with signals applied to either of the audio inputs to achieve highly controlled complex tonal qualities.

Other comments:
A nice bit of flexibility is the "LO" setting that turns it into a CV processor! ... Recent updates to the filter's circuitry are noticeable as well- Its much easier to get tube-type harmonic warmth just by nudging the gain control. The feedback and overdrive characteristics have also been tweaked to be more musically useful... This filter will not oscillate unless you patch it up for feedback... Hi-Lo range switch for fantastic and unique audio/cv applications - hit it with a pulse, get an unbelievably slow damped sine wave.Calibrated 1 v/oct and attenuated cv inputs, just like the oscillators... Since it's a multi-mode filter, it's 12 dB/oct roll-off. You may want a LPF with more 'bite' in some applications. I think the bandpass and all pass sections of this filter have 6 dB/oct roll-off.

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Elektor Formant

Click here for shots via this auction.

Details:
"The Elector Formant modular synthesizer was designed by C. Chapman. The Formant was published in a series of articles in Elektor (in The Netherlands, Elektuur), and later as a book with a compilation of the articles. A year later there was another book with additions and extensions by M. Aigner, an Austrian. In those days I was still a student, and didn't have the time or money for the project. So I shelved it, till a later date when I would have both time and money at the same moment. This rare combination of factors occurred in October '92, triggering the project from hibernation.

"The Formant is a conventional Moog-style synthesizer, voltage-controlled with a 1V/octave characteristic. It consists of separate modules, which I mounted in a rack. Each module is a printed circuit board with a front.

"The original book describes the keyboard and interface, power supply, VCO, VCF, LFO (consists of 3 LFOs), Noise, ADSR, VCA, COM (output module), RFM (Resonance Filter Module) and a 24dB VCF. The book by by M. Aigner contains things like Ring Modulator, Envelope Follower, Mixer, Phase Shifter, ADSR Controller, VC-LFO's, Sample and Hold, and a few more. I'll briefly describe the modules here, and how building the Formant went.

The Modules
Keyboard interface
The keyboard is made with double switches, one switching a resistance ladder, the other the gate signal.
* inputs: frequency modulation
* controls: portamento, octaves coarse and fine

VCO
The VCO generates sine, triangle, square, sawtooth and spaced sawtooth waves. The pulse width of the square is adjustable, and even modulatable (PWM).
* inputs: frequency modulation, external control voltage, pulse width modulation. A LED indicates the pulse width.
* dials for octaves coarse and fine, output level, pulse width, pulse width modulation and frequency modulation.
* Switches to select each waveform (you can have sine and square at the same time, the signals are simply added together).
* External control voltage/keyboard voltage selector.

VCF
The VCF is a 12dB/octave voltage controlled filter. You can configure the filter as Low Pass, High Pass, Band Pass or as a notch filter. Quite versatile really.
* inputs: Timbre Modulation, external control voltage, external signal.
* dials for timbre modulation, external signal level, envelope, octaves, Q (resonance) and output level.
* Switches to select HP, BP, LP and Notch filter function.

ADSR
The ADSR generates the envelope signals for the VCA and the VCF. Normally you will have two ADSRs in a system, one for the VCA, and the other for the VCF(s).
* dials for Attack, Decay, Sustain and Release.
* switch to select AD or ADSR envelope
* LED indicator showing the envelope

VCA
The VCA has the following controls:
* inputs for amplitude modulation and external signal.
* dials for AM depth, ES level and Gain.
* Switch for ENV/Off (Off means no ENV control).
* LED to view the input signal level.

LFO
The LFO module consists of 3 LFOs. LFO 1 and 2 are identical, generating square, triangle and sawtooth ( /|/| ) waves. LFO 3 is different, in that it generates triangle and two sawtooths, one being the inverse of the other. ( /|/| and |\|\ ). Each LFO has a dial for the frequency, and a LED that shows the triangular wave amplitude.

Noise
The noise module generates white noise, coloured noise and a random voltage. The 'speed' of the random voltage is adjustable with a dial and indicated with a LED.

COM
The Control and Output Module outputs the Formant signal, there are dials for tone control (Bass, Mid, Treble) and Output level. You can connect a headphone or external amp to this module. (All outputs of the Formant you can connect a headphone to.)
24dB VCF

It is basically like the VCF, but 24dB/oct.
* inputs: Timbre Modulation (TM), ECV, External Signal (ES).
* dials for TM, ES level, Envelope (ENV), Octaves, Q (resonance) and output level.
* Switch to select HP/LP, a switch to select VCO's/ES.
* A dB/Oct selector: 6, 12, 18, 24 dB/oct.

RFM
The Resonance Filter Module is used to mimic existing instruments more naturally, or just as some filter. Another name for an RFM is a 'parametric equalizer'. This is not a voltage controlled filter. The Formant RFM consists of 3 filters in parallel. Each filter has three dials for frequency, Q and A."-----Rick Jansen"

synth-Q for iPad Released

iTunes: synth-Q - Never Be Normal

From the maker of 76 Synthesizer

"Requires iOS 7.0 or higher

Introducing the queuing synthesizer for iPad.

Synth-Q has been designed from the ground up with the touchscreen interface in mind. Synth-Q is a subtractive synthesizer with a customizable interface. A unique module queuing system, resizable multi-octave keyboard, and intuitive cable-based modulation controls offer a truly dynamic music-making experience for iOS.

Each part of the synth is separated into units called modules. Each module snaps into place along a scrollable surface above the keyboard.

Control the number of modules shown on the screen at any time. Control which modules appear for each sound.

Tap a button on the module menu to launch a module and add it to the queue.

Drag a module up and release to remove it from the queue.

Drag a module down to move it within the queue.

Add variability to your sound by connecting different modules using virtual cables.

Alter the sound with synth-Q's movable keys.

Synth-Q provides an intuitive and engaging way to get started creating your own sounds, and is ideal for production, performance and music education environments.

Full feature list:

MODULES:
—three oscillators — sine, triangle, saw, square, pulse and resonant noise waves
—three adsrs — amp, filter and modulation envelopes
—filter with lowpass, hipass, bandpass, band-reject and peak filter modes
—glide
—frequency modulation oscillator
—ring modulation oscillator
—eight modulation bays with virtual cables enable interactions between modules
—three tempo-syncable LFOs with sine, triangle, saw, reverse saw, square, random curve and random step waves
—two XY matrix pads
—XY keys module turns the keyboard's movable keys into modulation sources
—two FX slots with chorus, flanger, phaser, reverb, tremolo, distortion, delay and bitcrush
—analog simulation with soft clipping and random pitch wavering
—midi module with pitch bender, modwheel and velocity
—master volume control

INTERFACE:
—multi-octave resizable keyboard with 4-voice polyphonic, monophonic and legato modes
—optional "sticky keys" mode locks each key to your finger after being pressed
—when used as a modulation source, sound can be altered by moving the keys in different directions
—unique rearrangeable module queueing area defines which controls are present per preset
—fully featured preset menu system with options to share and import via e-mail or iTunes File Sharing
—import presets directly from iOS mail by tapping and holding the attachment and pressing "Open in synth-Q"
—functional graphic design and layout eliminates screen switching by keeping the control modules and keyboard in constant view

OTHER FEATURES:
—Audiobus support with Inter-App Audio
—A=432Hz, A=440Hz and A=444Hz tuning modes
—44100k Hz, 32000 Hz and 22050 Hz sampling rate modes
—MIDI input and output per channel
—basic recording feature to save, play, loop, and share recordings
—import .WAV files from iTunes File Sharing for playback
—parallax motion effects"

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Blue Lantern ASTEROID SNARE DRUM

via Blue Lantern

"What does this do?
This is a sound generator module with 3 oscillators + noise generator. This module is a complete mini synthesizer that can easily produce snare drum sounds. A 'trigger' signal is patched in order to hit the snare drum. The bottom row contains an internal mixer where you mix in 2 shell generator oscillators, one thud oscillator, and a noise generator.

The Noise generator can be used for your other modules. You can also patch into the discrete transistor vca, breaking the switch jack to replace the noise generator with an external audio signal (synth level).

The Filter on the 'Impact' signal path was carefully designed just for snare drum tone control. It sounds very nice. It will not self oscillate, but the Q control can go very high in frequency.

There is an accent control circuit in order to vary the loudness of the snare drum.

History of the design:

The Asteroid Snare drum started out on bread board as a TR 606 snare drum. That design only contains one oscillator, a transistor based noise generator, and a 'clipper' brute vca. It is a nice efficient old design, but it is too simple and boring. I decided to add (2) of the original oscillators, and replaced the noise generator with a digital based noise generator to make sure all production units were alike. The snare drum still was missing fullness, so I designed an addition oscillator called 'thud'. The poor vca from the original design was removing all the additional harmonics, so that was replaced by a discrete vca, and I added tonal controls to the IMPACT signal, and the THUD signal path.
All of this amounts to about 200+ smt parts. Far exceeding the original design. I don’t think there is another analog snare drum out there with the Asteroid Oomph.

Price $169.00"

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Waldorf Q -Synthesizer

via this auction
"The Waldorf Q is a 16 part multi timbral virtual analogue synthesizer with 16 voices, expandable to a total of 32 voices. In multi mode, up to 4 parts keep their 2 high quality effects, giving a total of 8 effect processors. Each voice offers 3 LFOs, 3 oscillators with all classic shapes plus new algorithms, 2 filters with a sophisticated routing method and all filter types that you expect from a virtual analog synthesizer.

Furthermore, the Q offers unique Comb filter types in two flavours.
This enables the Q not only to create polyphonic Chorus or Flanger effects but previously unheard athmos or pluck sounds with great life. To top things off, the Waldorf Q has a very powerful arpeggiator and an even more powerful step sequencer. And with 58 endless rotaries, the Waldorf Q easily doubles the number of controls of other synths.

General Features
* 16 voices, expandable to 32 voices
* 16 part multi timbral
* 300 single programs
* 100 multi programs
* 100 step sequencer patterns
* 20 drum maps
* card slot for optional RAM card
* 58 endless dials
* 39 buttons for editing
* 2 x 20 character display
* 5 octave keyboard with aftertouch
* 1 Pitch Bend Wheel, 1 Modulation Wheel
* 2 Control Buttons
* 6 analog outputs (3 stereo outs)
* 2 analog inputs (1 stereo in)
* 1 coax S/PDIF output (44.1kHz)
* MIDI In/Out/Thru
* 2 Switch Inputs (e.g. Sustain Pedal, Gate In etc.)
* 2 CV Inputs (e.g. Foot Pedal, external controller etc.)
* built-in universal voltage power supply
* Dimensions: Width 995mm, Height 135mm, Depth 360mm
* classic blue

Per Voice:
* up to 5 Oscillators per voice
o Pulse with Pulse Width Modulation
o Sawtooth
o Triangle
o Sine
o 2 wavetables with 128 waves each plus Sub Oscillator per Alt Wave
* FM and Oscillator sync
* Noise generator
* Ring Modulator
* Mixer with Balance, each signal source (oscillator, noise, ringmod, external audio material) can be balanced individually between filter 1 and filter 2
* 2 Filters, different types, all including FM and distortion
o Low Pass (12dB/24dB)
o legendary PPG filter
o Band Pass (12dB/24dB)
o High Pass (12dB/24dB)
o Notch (12dB/24dB)
o Comb Filter (positive/negative feedback)
* Modulation Matrix with 16 slots, freely routable
* Pre-routed Modulation destinations, sources selectable
* modulation update frequency in audio range to allow the oscillators to be used as modulation sources
* 4 Modifiers
* Arpeggiator with user pattern, including accents, timing information, swing, glide, chords and more
* Step Sequencer with 32 steps, polyphonic, different controller values per step
* 3 LFOs up to audio range (> 5000 Hz)
* 4 envelopes, enhanced ADSR configuration with loop and one shot function, bipolar
* Poly, Mono, Dual, Unisono modes
* HMT for realtime tuning
* 2 individual high-quality effects per sound
* Effect Types:
o Reverb
o 2 x Surround Delay
o Tap Delay
o Chorus
o Flanger
o Phaser
o Distortion
o Delay
o 5 FX
o Vocoder with 25 bands
* and lots lots more..."

JOMOX MOONWIND ANALOG FILTER SYNTHESIZER SN 2012-0008

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

via this auction

"The Moonwind is a true analog stereo filter with built-in step sequencer, a fantastic sounding digital effects chip, 2 LFOs and envelope modulation.

Everything is storable and controllable via MIDI.

You can control the Moonwind like a synth with midi notes and play tunes on the filters when they whistle in self-resonance.

The sequencer can record the Cutoff, Q and Resonance per step and filter, turning a stereo filter with analogue feedback effects into a creative instrument

This makes the Moonwind to an easy-to-use and high-quality analog sounding sound engine that is playable like a synth and can be seamlessly integrated into a DAW recording system.

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Intellijel Morgasmatron: Unfiltered Possibilities (Filter Demo With No Talking)

Published on Feb 8, 2018 intellijel

Chapter Markers:
00:00 - Intro
00:32 - Shapeshifter Chords
02:52 - Dixie II+ Pulse Wave Riff
03:44 - Formant Filtering
04:37 - Drum Synthesis
06:08 - Dual Oscillators
08:00 - Wet/Dry Tone Blending
08:44 - Tone Shaping In Series
09:18 - Ring Modulation
09:45 - Drones

"This is the third generation of Intellijel’s much loved Korgasmatron filter designed in collaboration with David G. Dixon.

The Morgasmatron features two completely independent six-mode filters (labeled “A” and “B”) — each with its own mode-select knob, input, output, cutoff, resonance, Q-drive and gain control. Each filter has a pair of CV inputs (one with a built-in attenuator and the other with a built-in attenuverter) for modulating cutoff, and another CV input for modulating resonance. Both filters self-oscillate at maximum Q, and produce pitched sine waves that track the two separate 1V/OCT inputs.

You can use the two filters independently of one another, or you can use them together (in either a series or parallel connection) and smoothly crossfade between them using either the XFADE knob or the XFADE CV input and built-in attenuverter. You can flip the DRY switches to instantly bypass either or both filters; invert the phase of Filter B; or overdrive Filter A by switching on the new Overdrive circuit. A MIX output provides (as you might suspect) a mixed output of the two filters.

Patch Descriptions:

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WMD Acoustic Trauma Analog Distortion Pedal

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

"The WMD Acoustic Trauma is an all analog distortion unit that is capable of massive sounds, all the while retaining an unmatched clarity of tone and sound.

This is a two preamp distortion box, with some complexity, and is perfect for sonic experimenters. The two preamps are Hot and Cool, and as their names imply, one is low to medium gain with nice clean up and the other is massive and crunchy. There is also a blend knob for further tone shaping. The EQ has three bands: Freq controls frequency adjustment from 40hz to 15khz; the Q controls sharpness and narrowness of the center frequency; the Gain controls amount of signal going to the EQ band. The Noise Gate will act according to the guitar signal, Noise Reduction controls level of noise attenuation when gate is not open, and the LED indicates how open the gate is. There is also an adjustable trim pot that allows you to tweak the speed of the gate. The WMD Acoustic Trauma comes with its own 18v power supply. This is a completely unique and massively tweakable distortion box. The sound coming out of it are only limited by your imagination.
WMD Acoustic Trauma

This all analog distortion box gives you two blendable channels, and incredible control over the EQ, and a noise gate. This pedal was a year in the making from the mad scientists at WMD, and gives you unparalleled and massive sounding distortion as well as rich organic overdrive tones.
WMD Acoustic Trauma Features:

True Bypass
18vdc power supply included
Two Separate, but blendable preamps: Hot and Cool
Three Band EQ with separate Gain, Q, and Freq controls
Noise Gate with adjustable threshold, noise reduction
Output volume controls level of output to amplifier; levels can exceed 10 Vpp, so beware of overdriving your equipment"

Serge Creature VCFQ Demo

Published on May 13, 2013 pjoris2·29 videos

"The second in the series of videos showing the capabilities of the Serge Creature. This time looking at the Variable Q Voltage-Controlled Filter (VCFQ). The sounds made are mostly using the TGO saw output through the filter. Modulation from the TGO and SSG modules. Overview of the video:
Basic Filtering
(00:30) Filtering of a saw wave with the filter: lowpass output. Setting the Q of the filter higher with every sweep.
(02:00) The same, using the highpass output.
(02:30) Bandpass output
(03:00) Notch output. Does not seem to do much ...
The first section was using the "AGC In" input. This input has automatic gain control to avoid overloading the filter when setting higher Q-values. The input labeled "In" does not have this, but has a manual gain pot. You can overload the filter using this input.
(03:30) Not dramatically different, but you hear some saturation and see some distortion (squaring of waveform) on the oscilloscope.
Filter Cut-off Modulation
(04:00) Using the VC F (variable CV) input. There is also a 1/V Oct input, which I fail to demonstrate here.
(04:30) Some nice "vocal" sounds using audio-rate modulation.
Pinging the Filter: when feeding a pulse in the trigger in the filter resonates in an acoustic sound way: "pinging" the filter.
(05:00) Just some various sounds varying the cut-off frequency and Q settings.
(06:00) Using the CV inputs for Q and cutoff frequency.
(06:30) Feeding audio in the trigger input.
(07:00) And some audio rate modulation of Q and/or cut-off frequency. Getting into noise territory again !
The filter doesn't go into self-oscillation by itself, but it does when you feed the bandpass output back in the filter through the "In" input. Bringing up the gain then gives (without any audio output) self-oscillation of the filter. Note: you must use the bandpass out and the "In" input. Using the low-pass out or "AGC input" does not work.
(08:00) Demonstration of the self-oscillation. Hard to get a pure sine out of it. You can control overloading the filter with the gain, but if you turn it to far down you lose self-oscillation in higher frequencies.
Some sounds: two audio demonstrations (no relation between video and sounds any more ...)
(10:00) Random sequence using the low pass out
(11:00) Some pinging through an analogue delay pedal."

_AJHSynth Sunrise_

_AJHSynth Sunrise_ from AJH Synth on Vimeo.

"Musical demo from Emmy winning composer Dave Gale, using only AJHSynth Eurorack synthesiser modules for all instruments and percussion."

And some additional details via Sonic Voltage:

LIST OF MODULES USED AGAINST TIMELINE “SUNRISE” BY DAVE GALE
0m 5s – Gemini Sweep – 3 VCOs into Ring SM, into Gemini Filter

0m 5s – White Noise – into Mini Mod Filter, and into Phaser

0m 21s – Full Mini Mod system (x3) to Build chord, DH-ADSR Env used here! (9 VCOs in use for the chord!)

0m 29s Drums –

Kick – Gemini Filter – Hi Res with Filter CV control via Envelope (very snappy/fast) with Filter Cut off set in the mid/Lo range
Snare – White Noise from ‘Glide+ Noise’ and 1 x VCO (Tri) – combined via Ring SM Mixer and put through overdriven Mini Mod filter
Hats – Just white noise through overdriven filter – envelope Decay/Release tweaked in real time!
Hi-Q – Mini Mod filter with full Resoonance – ADSR controlling Freq CV – overdriven!
Open Hats (left channel!) – just noise and a Mini Mod filter
0m 29s Bass – 2 bass sounds – both from the full Mini Mod system

1st – 2 x VCO acting as a Sub bass (octave apart)
2nd – all 3 VCO’s and with filter being tweaked in real time
0m 29s – 2 Sequencer Synth lines

1. Left Channel – Single VCO into Gemini Filter,
2. Continuous panning – single VCO into Sonic XV filter
0m 51s – OB Throat! – Gemini Filter with one VCO, used in dual mode to create the classic OB Throat effect! Cut Off controlled via DAW.

0m 61s – Background Sustained chords – 3 parts of Mini Mod (3 VCOs) all going through the Glide module, and being filter tweaked in real time

1m 15s – Hi Falling Arpeggio line – Sync’d gated LFO and ADSR both controlling Mini Mod filter, summed via CV Mix module

1m 41s – More Throaty OB filter!! Gorgeous!! 🙂

Repetition of the above to the end

Closes with another White Noise sweep.

All sounds were produced and processed by AJH Synth modules, no other sound sources were used, however, standard production and master processes have been used in a DAW/Mac environment, including eq, compression, reverb and delay.