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

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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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VVRONGER | Portable Arcade Synthesizer

video upload by Ventla

"available on https://ventla.bandcamp.com/merch/vvr...

vvronger is an analog-digital hybrid monophonic mini (more mini than minimoog) synthesizer with csg -- complex sound generator -- synthesis

vvronger incorporates legendary pedigree sn76477(n) sound chip manufactured by us of a's finest texas instruments in 1978 which used in various arcade video games, pinball machines and electronic toys released on that era such as space invaders (taito), sheriff (nintendo), space encounters (midway), vanguard (snk), sharpshooter (game plan), locomotion (zaccaria), sound fx machine (remco), muson synthesizer (mego) et cetera

layout designed and assembled by me"



specifications
a. mono output jack, obviously
b. these could maybe work as kinda like an on-off mixer for a sound sources or as an envelope selector
c. seems to related with a duration of one-shot function
d. probably defines an one-shot duration range
e. probably some lfo-related component
f. vco-related component
g. sorta lfo adjustment thingy
h. the component we usually hardly use
i. pitch adjustment thingy
j. a mysterious component. hardly use
k. a switch to convert vco sources (internal <-> external)
l. a switch to convert sound envelopes (constant <-> one-shot)
m. i swear this is an one-shot trigger button. also works as sorta like a mute button sometimes
n. cool slide switch somehow i settled
o. external vco input jack. important component for a decent musical usage. vvronger has no gate input jack just in case
p. noise clock-related component
q. sorta noise filter
r. also a noise filter-esque component. also maybe works as sorta noise gate
s. definitely perhaps decay adjustment component
t. attack adjustment
u. decay adjustment
v. works as some kind of tone colour control section
w. cool 9v batt snap

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🧚 Fairy Fountain | The Legend of Zelda | Modular Synthesizer

video upload by Sworn64

"🧚 This is a classic video game song from The Legend of Zelda series with tons of nostalgia. Please enjoy this modular synthesizer version of the song.

I initially made this as a way to learn more about working with chords on the Audiophile Circuits League Sinfonion module. This song has lots of chord changes, so I thought it was a great choice.

Patch Notes:
✨Main Synth Voice: Mutable Instruments Plaits - Ripples - Beads - AJH Synth Next Phase
✨Secondary Synth Voice: Black Corporation Deckard’s Voice
✨Bass Synth Voice: Noise Engineering BIA & Moog Subharmonicon - Music Thing Modular Mini Drive
✨Lead Synth Voice: Noise Engineering Manis Iteritas - System 80 860 & QuBit Surface
✨Chord Voice: QuBit Chord - Intellijel Polaris Controlled by ACL Sinfonion
✨Drums: System 80 880 & Moog DFAM
✨Water Samples: 4MS Stereo Triggered Sampler : WMD Overseer
✨Granular FX: Instruo Arbhar processing Deckard’s Voice
✨White Noise FX: Steady State Fate Quantum Rainbow - Make Noise Q-Pas
✨Performance Controls: Polyend Preset, Doepfer A-174-4 3D Joystick, Emblematic Systems Catalyst Flow, Michigan Synth Works F8R
✨Performance Effects: Strymon Magneto, Happy Nerding FX Aid XL, WMD Overseer
✨Sequencer: Winter Modular Eloquencer
✨Mixed through the WMD Performance Mixer with Halls of Valhalla Reverb on the Tiptip Audio Z-DSP & Make Noise Mimeophon."

Prophet-5 Analogue Renaissance Rev-1 Downgrade

video upload by synthlegends

Additional posts here

"Some tweaking and demonstrating the downgrade mode of analogue renaissance.

What I like in this mod is the boost switch, called Q-compensation and 12 dB Filter, which makes much power even with high resonance in the filter. You can listen it in the first patch in this video. The recording was made without processing, effects and just raw into the audio interface in mono. For further information go on the website of analogue renaissance.

I kept my curtis filter chips, so I can built this prophet everytime back in the original state.

Here is the description from the website of analogue renaissance:

This modification for the Sequential Circuits Prophet-5 reverts the Rev 3 sonically to the earlier, much bigger-sounding Rev 2! The two Prophet 5 versions sound different due to the nearly complete redesign of the voice architecture to use Curtis’ CEM chips instead of Dave Rossum’s SSM chips for the transition of the Rev 2 to the Rev 3 model. This difference in sonics has made the Rev 2’s more desirable - and significantly more expensive. Fully working prototypes have been built and tested, and have the following features:
No mods to the Prophet 5 PCBs are required.
A REV -1 simply plugs into the IC sockets, replacing each CEM3320.
Only 1 extra wire for the -15V supply needs to be soldered.
Electronics have been added that cancel out the pollution from the CEM3320’s level shifting circuitry. The little that remains (30 to 100dB attenuation depending on frequency content and Prophet component tolerances) is also moved entirely to the filter's input. So, it get's further attenuation of 24dB per octave beyond cutoff.
Extras:
The input signal has been increased a bit, since the 2040 likes to be driven a bit harder. This is no issue for the purists as it can be attenuated in the ‘mix’ section of the prophet-5.
By design the SSM2040 is also self-limiting, so the output level has been increased a lot as ample headroom was available, and this gives a much better signal-to-noise ratio and dynamic range.
REV -1 also adds two new features not present in the original Rev 2:
variable Q-compensation that restores the loss of bass when resonance is increased (14dB is lost at the onset of self-oscillation in the original filter design).
the option to use the REV -1 as 2-pole filter instead of the original 4-pole configuration. Most non-linear effects happen in the first two filter stages, and the 2-pole mode lets you hear these effects unfiltered by the last two stages.
The combination of these two extra features will make a Prophet 5 sound absolutely monstrous!
Switches to select 2-pole or 4-pole mode and the amount of Q-compensation will be included with mouting hardware.

Thanks for watching and listening."

Electrix Warpfactory - Vocoder Rack & Desktop FX Unit

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via this auction

You can find demos in previous posts here.

"Very cool sounding very well built like a tank getting hard to find.

Designed for both DJs and Musicians, the Warp Factory is possibly the ultimate stand-alone Vocoder. With those great big knobs, the Warp Factory is designed for straight-forward hands-on use. It has an XLR Mic input (conveniently located on the front) and a quarter-inch line input for use as the Formant or carrier signals. Then there are two quarter-inch line-inputs and two RCA phono inputs for your stereo source sounds, either drum loops, mixes, songs, synth pads, etc...

The way it works is whatever Formant signal you have, say your voice, will be warped into taking on the characteristic of the Source signal you have, say a buzzy synth sound. This would in effect give you that Robot voice effect.

The Warp section is where you'll find most of the knobs and cool features of the Warp. There is a low- and high-pass filtering switch. A 'Gender' knob adjusts the pitch of the Formant. 'Q' adjusts the width of the filtering. An 'Order' adjusts the filter resolution for clear to abstract vocoding effects. There is also Noise and a built-in oscillator Source signal whose pitch is adjusted by 'Robot Pitch'. Various Bypass and Freeze switches and complete MIDI implementation make this the ultimate Vocoder for DJs, musicians and producers"

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

video upload by EthanJamesMusic

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

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

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

Patch Notes:

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

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

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

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

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

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

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

Faselunare VEGA 4 Voice Eurorack Drum Module

You can find a SOUNDMIT preview demo posted back in March here.

"VEGA is the first module of the italian company Faselunare. Is a 6HP, 4 Voices drum module in Eurorack format. VEGA has 4 digital voices tailored for drum sounds, each voice works both in synthesis and with samples uploaded on the onboard SD card.

His unique color coded user interface, shrink the module at only 6HP, thanks to the RGB encoders, LEDs and buttons, you can access easily 12 parameters per voice, 5 presets and a very useful mute function for each voice.

VEGA has 4 Trigger inputs (one for each voice), 1 Random input which randomly triggers individual voices and a high quality audio output.

Why VEGA?

Here at FASELUNARE (Moon-phase in English), we have a passion for space and sci-fi, Francesco's Stage name has always been Urbanspaceman and together with Daniele he played and released some records as the "Space Aliens From Outer Space".

So that's why our projects have names inspired by science and science fiction!

If you look at an image of the Lyra constellation, you will notice that the 4 buttons of our module are positioned exactly like the 4 stars: Vega (α Lyrae, the brightest), γ Lyrae, β Lyrae and δ Lyrae."

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Studio Electronics Eurorack Modules

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

via NOISEBUG Reverb

Note auction links are affiliate links. See the site's privacy policy for more info.

"What's nice about our OSCILLATION stunner (according to Tim) "is that the waveforms are DC-coupled [components connected directly together without any coupling capacitors], so they keep their shape even at sub-Hz speeds. The outputs are also buffered, so the amplitude is independent of the load they are driving. The waveform levels on some modern eurorack OSCs are often all different, and they vary depending if they go into the mixer or directly to the filter!" Coupling the circuitry without capacitors in-line gives the go-ahead for the full spectrum of frequencies to do their thing, and ensures near identical response over the years—audiophile, transistor-protecting signal path stuff here. You should see these beauts on the scope: a Class-A ballet of balance and proportion, only drawing modest current, rather evenly from plus and minus."

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Waldorf Q: Cybernaut

wedream2

"Waldorf Q in Multi mode: 4 keyboard zones: Noise effect, sequence, brass, oboe. The sequence consists of a percussion track and a transposable bass line. The transposed key changes after the current cycle. The song is Cybernaut from the 1971 electronic album 'Zero Time' by Tanto's Expanding Headband. The Q's multitimbrality allows such real time performance. Recorded on IPhone."

PAIA 2700/4700 MODULAR ANALOG SYNTHESIZER

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via this auction

"A few years ago I decide to take my 1974ish PAiA synthesizer and rebuild it. I researched components by consulting with Scott Lee of PAiA. I designed custom panels through Front Panel Express. To keep the engraving costs down I went with a minimalistic look that was reminiscent of PAiA yet totally original with a vintage vibe, especially the knobs.

I had Steve Wood, a former PAiA Tech from back in the day, do all the module refurbishing. Most of the major components on the boards were replaced & all ICs socketed. The audio path has upgraded caps and Burr-Brown op-amps. All front panel parts and hardware are new. Taking Marvin Jones’ advice, I replaced all the control voltage “pin jacks” with 3.5mm audio jacks. These are grounded so I could interface the PAiA with my other modular gear.

Multi-turn pots are used for VCO frequency tuning (they look like the pots on the old “Putney” synth!). The “bouncy” push button switches are replaced by momentary toggle switches and all of the switches are now toggle switches with vintage looking paddles.

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Macbeth X-Series Micromac-D

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via this auction

"A masterpiece by Scottish synth designer genius Ken Macbeth, this is Ken’s take on the classic Minimoog Model D concept of a 3-VCO synth with a 24db ladder filter.

Ken Macbeth is - besides Wowa Cwejman - the best boutique analog synth builder of our time, doing everything the old-school way of through-hole solering. This is true analog!

The sound that his synths deliver is simply out of this world and the Micromac D is no exception. Despite its desktop size it packs a heavy punch. Seriously - in terms of sound this is as good as it gets.

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WMD SCLPL - In Depth Tutorial

WMDevices

"Frequency equalization (EQ) is something that the Eurorack industry has been lacking for a long time now. Sure, there are plenty of EQs out there with limited feature sets, but we felt the need for something more. We wanted presets so we could change settings mid-set and that turned to the question "what if they morphed smoothing from on to another?" which has brought us to what is now known as SCLPL.

The WMD SCLPL is a dual mono / stereo EQ and morphing filter for eurorack modular synthesizers in 4HP. 9 presets let you save different EQ settings and then morph between them with CV or manually with knobs.

In this video, we cover the basics. We use White Noise from the WMD/SSF Modbox and sweep frequencies. We then use Drum Break and Chord samples from the Rossum Assiml8or to learn how to set up EQs, save Presets, and more."

"The mix surgeon's best friend is now a powerful effect in your eurorack system.

SCLPL (pronounced SCALPEL) is a Stereo 5-Band Digital EQ / Morphing Filter module for eurorack modular synthesizers. Use it to cut out problem frequencies on voices in your mix or to add pleasing enhancements to your stereo field.

Dual Mono and Stereo Control Schemes make it an excellent addition to any WMD Performance Mixer Setup. Add 4 SCLPL for 8 channels of EQ in 16HP. Put a 5th on the Master Bus and you have the ultimate eurorack mixing setup!

A simple user interface makes it a powerful tool for many use cases. It features 9 user-programmable preset slots that can then be "morphed" between seamlessly with CV or the Level knob in Morph Mode.

Each frequency band is set independently with the Level, Q, and Frequency knobs, and a helpful LED display aids in knowing exactly what's going on at all times.

Frequency bands include a Low Shelf, 3 Mid-Range Peaking Bands, and a High Shelf."

STS ∎ Serge ∎ Animal ∎ Animate ∎ TKB (DIY from The Human Comparator)

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via this auction

STS panels and a DIY TKB from Human comparator.

Panels Descriptions from the Old Egres unofficial Serge site:

ANIMAL 1. New Timbral Oscillator NTO 3" 2. Precision VCO PCO 2" 3. Wave Multipliers VCM 2" 4. Audio Mixer (3x1) AMX 1" w/'Phase Invert' toggle switch 5. Smooth/Stepped Generator/Noise SSG + NOI 2" includes the 'Noise' source 6. Dual Transient Generator DTG 2" add 'Signal In' banana jacks 7. Extended Range VC 'Q' Filter VCFQ(X) 2" 8. Univeral Audio Processor UAP 2" Sub-Total: $4,800.00
----------------------------------------------------------------------------

ANIMATE 1. Preamp Detector PRNV 1" w/ Valtage Comparator section 2. New Timbral Oscillator NTO 3" w/ 'HI_LO' Range Toggle Switch 3. Triple Waveshaper TWS 2" 4. Audio Mixer (3x1 w/ phase invert) AMX 1" w/ 'DC coupled' inputs #1 & 2 5. Variable Bandwidth VC Filter VCF2 2" 6. Wilson Analog Delay WAD 3" 7. Dual Universal Slope Generator DSG 3" 8. Cross-Fader (2x1) XFAD 1" Sub-Total: $4,800.00

Synthberry Pi: Tutorial II - OSC Remote control

Published on Mar 7, 2020 Artis Lab

"SynthBerry Pi is the prototype of a standalone synthesizer based on the Raspberry Pi mini computer and the Pure Data development environment. The prototype is equipped with a control surface made up of eight potentiometers connected to the computer which allow to modify, in real time, the control parameters of the sound generation processes. Furthermore, by using the wireless connectivity of the mini computer, the Pure Data patches can be controlled by sending Open Sound Control (OSC) messages from devices such as tablets or smartphones.

For more information on SynthBerry Pi visit this link: https://www.artislab.it/it/synthberry...

The video shows the remote control of a Pure Data patch based on Open Sound Control messages over the wireless network. On the phone we have chosen to use an application called Control which provides graphic interfaces equipped with objects which, in response to user actions, send OSC messages through the wireless connection.

For this demo we used a Pd patch that is based on a subtractive synthesis system. The patch consists of a white noise generator and four fourth-order bandpass filters. The eight potentiometers of the control surface allow to control, for each filter, the center frequency and the quality factor (Q). The filters have been tuned to operate in different frequency regions from the lowest, the pair of potentiometers on the left, up to the highest on the right.

Two interfaces have been developed in Control to change the parameters of the Pd patch which creates the subtractive synthesis system. The first interface is something similar to a mixer, since it makes possible to separately change the volume and position of the stereo panning of each of the four filters through the use of a widget that implements a multitouch interface. The vertical dimension of the graphic object has been associated with the volume control of each filter, while the horizontal direction allows the user to control the panning between the left and right channels.

The second interface has four buttons that allow the user to choose four different settings for the range of variation of the filter frequencies. The frequency value of the four filters is controlled by the position of the corresponding potentiometer by means of a mapping process in a well-defined frequency range defined by a maximum and minimum value. Each button of the Control interface recalls a different configuration in the patch for the extreme values (maximum and minimum) of the frequency regions in which the interpolation is carried out. Furthermore, by positioning the potentiometers all up or all down, it is possible to obtain precisely the values of the filter frequencies set for the different presets."

See the Artis Lab below for more.

New ASM HydraSynth 8 Voice Digital WaveMorphing Hardware Synthesizers - First Demos & Details

Update: Playlist added above. You can use the player controls to skip around.
Update2: New pics and product description added below.
Update3: Official press release with higher res pics starting with the desktop added below.

Playlist:

1. ASM Hydrasynth Keyboard Preset Sounds - Perfect Circuit - interview here
[Note Supporters of MATRIXSYNTH get %10 off at Perfect Circuit! See the support page for details. Thank you to all who support the site!]
2. ASM HydraSynth Overview Demo arp and Poly Touch Pads - Ken Flux Pierce Fluxwithit
3. HYDRASYNTH FIRST IMPRESSIONS – This is an INTENSE synthesizer - BoBeats (Patreon)
4. New Polysynth - HYDRASYNTH - From ASM - Sonic LAB First Look - sonicstate
5. Hydrasynth: Review, detailed tutorial // Keyboard vs Desktop // Polyphonic Aftertouch - leploop
6. Hydrasynth Review - BBoyTechReport.com
7. Welcome the ASM HydraSynth! Digital Wavemorphing Synthesizer - Ken Flux Pierce Fluxwithit
8. ASM HydraSynth Exploring Oscillators and Mutants - Ken Flux Pierce Fluxwithit
9. ASM Hydrasynth Sounds Demo 🎹 - Sweetwater
10. ASM Hydrasynth Synthesizer Deep Dive 🎹 - Sweetwater

ASM stands for Ashun Sound Machines, not to be mixed with the Elby Designs ASM2 & ASM STRAT 1.

Screen grab of the desktop version.

via Fluxwithit

"Over the past year or so I was fortunate enough to work on this project. Eventually it became one of the most interesting synthesizers I have seen hit the market in ages. What makes the ASM HydraSynth so special? let’s start with a run down of the bullet points first.

Hydrasynth is an 8 voice digital wavemorphing synthesizer.

8 voices3 oscillators: 219 waveforms, custom wavetables with wavelist/wavescan function, ring mod, 3 noise colors.4 custom “mutator” sections each with 7 effects FM-lin,wavestack,PWM,PWM squeeze, PWM-ASM,Sync,Harmonic sweep. oscillators can be stereo panned.

2 Simultaneous filters that can be arranged in parallel or series. Filter 1 has 11 filter models including traditional Moog style 12 and 24db ladder filters, q compensated 12 and 24db ladder filters ala MatrixBrute, 18db slope LP,BP,HP,filters based on the Threeler eurorack filter, MS20 style HP and LP filters,LPG filter and a Vowel filterOscillators can blend into filters at varying amounts, Filter 2 is a SEM style multimode filter with morph control LP-BP-HP.dedicated analog 270 degree pots for cutoff, resonance and Drive/Morph.

5 6-stage DAHDSR envelopes with BPM sync allowing you to sync the slope of each stage to the beat. Looping with definable number of repeats

5 LFO each with 10 waveforms + noise, delay, fade in/out, and phase. multiple trigger modes , step mode with pattern length.

32 point mod matrix with 28 sources and 188 destinations .

8 macros each with scribble strip and up to 8 destinations each. Macro buttons also allow for quick value changes.

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River Synths - Dendrites

Published on Jul 30, 2019 SchneidersLaden

This is the first post to feature River Synths.

"The Dendrites by River Synths is a highly versatile multimode filter with different resonance characteristics and a drive circuit. A very nice colouring audio processing tool, with a certain presence and a musical behaviour."

OVERVIEW
River's Dendrites is a true multi-multi-mode filter. A very nice colouring audio processing tool, with a certain presence and a musical behaviour. The filter modes (16), resonance (3) and overdrive (2) all have different options to choose from - a total of 96 different combinations. And then there are five CV inputs, additional switches, controls and attenuators. The “art” of Dendrites is to never appear overloaded with features, but to always be playable - and to sound very good.

DETAILS
Dendrites is a multimode filter AND phaser. Two of the 16 modes are designed as pure all-pass filters, which can produce a rather deep phaser sound despite being there being only four stages/poles available. Four more modes are a mixture of allpass and lowpass, bandpass and highpass. The remaining ten are one- to four-pole, "pure" variants of LP, BP and HP.

The dry, wood-like basic sound of the discrete transistor circuitry always shines through. By adjusting the input level and the resonance behavior, the Dendrites can be made sharper, softer, thinner, wider, firmer and more fluid. And with the drive activated, it's even quite aggressive.

Each of the three resonance settings plays a role in achieving said characteristics: "Vintage" for soft and round, stronger colouring behaviour. "Q-Comp" regulates the relationship between audio signal and resonance, providing a different presence. And "K-Style" means Korg classics sound and therefore also has a dominant resonance sound and a rather mid centered output.

At the center of Dendrites, however, is a click encoder with which the 16 different filter types can be quickly selected. This is also possible with CV. Also the resonance is CV controllable. AND Dendrites also tracks stable over at least four octaves and can be used as a sine oscillator (with Drive = Waveshaper). With exponential and - for filters rather unusual - linear FM. The FM/Cutoff input is switchable between lin/exp and is bipolar (+/-5V), while its neighbour "Envelope" is designed for unipolar envelopes (0-10V). Both have an attenuator for scaling the input signal.

Especially in the setting "K-Style" it is worthwhile to activate the drive. With the input-gain in the middle position in order to leave some air for the resonance. With vintage resonance on the other hand and especially in 4P-lowpass mode you can and should move the input gain to past 3 o’clock. "Q-Comp" has a different presence that allows for settings moving subtly between 9 to 12 at the input and thus working out different shades of saturation.

Dendrites reminds in many settings of classic synths. But you will also notice that it's a unique, self-designed and modern circuit - especially the way it saturates and how agile it can be with fast modulations ... and with how little background noise there is!

UltraRollz Farm-Detective Analog Synthesizer -Ellitone-

Published on Jul 18, 2019 ellitone instruments

via Etsy

"The UltraRollz Farm Detective is an all Analog Modular Synthesizer that rewards those who go deep.

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Ellitone Instruments UltraRollz Farm Detective Analog Synthesizer

Note: Auction links are affiliate links for which the site may be compensated.
Published on Jun 21, 2019 ellitone instruments

via this auction

"The UltraRollz Farm Detective is an all Analog Modular Synthesizer based on the concepts presented by Peter Blassers (Ciat-Lonbarde) 'Rollz-5 Drum Machine'

The Instrument is divided into 3 sections. A Dual UltraSound Filter module in the center and 2 "Rollz Plates" (one located on either side).

The 2 Rollz Plates each contain 4 Independent Rollz. These Rollz are essentially Pulse Generators that each oscillate at a unique speed. Each Rollz Plate offers 2 Even Rollz (4 stages) and 2 Odd Rollz (3 stages).

The Even Rollz (4 stages) are able to self oscillate at a low consistent speed (LFO), outputting a positive pulse every cycle via the output jack located next to the LED (The LED flashes correspond to the output state of each Roll).

The Odd Rollz (3 stages) do not self-oscillate. They only come alive when patched together with other Rollz. These paradoxical oscillators will then begin emitting bursts of Ultra Sonic noise that will later be processed using the Dual UltraSound Filter located in the center of the instrument.

Each of the 8 Rollz offers individual patch points at every stage of their oscillation (36 patch points in total). These Nodal Points allow one to "weave" the independent Rollz Oscillators together, this is where all the fun begins!

By weaving together the inner workings of several Rollz, complex interactions and 'incidents' begin to occur. There really is no Right or Wrong way of connecting these Nodal Points together. I like to think of this whole process as "creating a thinking brain". The more connections that are made, the more likely that bizarre sounds (thoughts) will begin to take place.

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AEMIT Presents Innovative Eurorack Modules for the Discerning Synthesist

AEMIT ~ Some Sound Snippets from Aemit modular on Vimeo.
AEMIT - Formant tests with System 7.5

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Make Noise QPAS // Quad Peak Animation System & Stereo Eurorack Filter

Published on Feb 19, 2019 DivKidVideo

"**TIMING INDEX / SECTIONS BELOW** So here's "the ultimate guide to QPAS" ... a mega tutorial, uber overview or any other silly name you'd like to title this with. Silliness aside, the QPAS has been great offering a lot of stereo filter tones with the quad filter cores and simple controls for a wide range of animation. The tone of the filter is hard to pin down as Tony of Make Noise designed the core (rather than cloning an old one) for the filter and the option to saturate the input VCA stage provides further tonal options. I hope this video is useful for currently QPAS owners, potential QPAS owners but more importantly I hope the video serves to demonstrate tchniques and provide ideas for any modules you own. I always try to make these useful for those with or without the module.

INDEX / SECTIONS

00:00 hello and patch previews (what’s to come)

02:22 What is QPAS? Feature and control run down

04:53 Raw sounds and sweeps

07:22 Audio rate talking filter vibes

08:02 QPAS & Morphagene Patch #1

09:51 Creating stereo images from mono sources and how to make an “opto auto pan” effect

10:43 QPAS in a delay feedback path and how to turn stale digital delays in awesome-sauce

12:54 Distorted bass sound design - looking at driving resonant peaks into distortion for hard electro, industrial and film/game like sound design

15:24 4 THINGS PATCH
15:37 Sweeping HP over full mixes
17:00 Bass boosts with the HP and high Q
17:55 Imparting chordal overtones
18:30 Envelope follower modulation for ‘auto filter’ sounds
19:05 Smile Pass phaser sounds over a mix

19:36 Phaser FX

20:18 QPAS & Morphagene Patch #2

21:14 best sound EVER

21:26 AM Synthesis tutorial with the QPAS + bonus LPG like patching

24:26 Emulating LPG / low pass gates with the QPAS

26:06 How to make a 4 pole 24dB octave response out of the QPAS’ 12dB 2 pole response

27:35 Making a “unique” band pass with self patching

27:55 4 mono peaks, 2 peaks filtering the other 2 peaks with self patching

28:52 Noise as a modulation source. Percussion, noise, new sounds and groove box action!

29:49 Shaping basic electronic percussion sounds

30:31 Imparting chord tones over your audio

31:06 Dynamics and expression with the input VCA

31:53 QPAS & Morphagene Patch #3

33:07 Random techno pings

33:32 LP BP HP SP multi output drone

34:36 Weird acid & layering modulation

36:12 Synthesising percussion sounds - KICKS

37:50 Synthesis more percussion - SNARES CLAPS + MORE

38:55 Tony Rolando’s “fake echo” patch with the wildcard input

40:53 Complex synth voices with Scanned & QPAS and lots of modulation."