Tone Science Module No.2 Elements and Particles Demo Mix

Tone Science Module No.2 Elements and Particles, set to be released on Oct 19, features the following supporters of MATRIXSYNTH: Todd Barton, Parallel Worlds, and Dave Bessel.

Details:

"Various Artists Tone Science Module No.2 Elements and Particles DiN:TS02

Release date 19th October 2018

Limited to 500 copies. Digipak CD format.

Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

This second compilation “Module No.2 Elements and Particles”, like its predecessor, features nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by Todd Barton and
 r beny. Barton is a world renowned exponent of Buchla modular systems as well as the Music Easel employed on this track. Austin Cairns (aka r beny) has a penchant for lo-fi looped synth atmospheres which combined, in this case, with a field recording creates a haunting, evocative piece. The next three pieces by Bluetech, Parallel Worlds and Paul Nagle build up rhythmic and sequenced elements with a fascinating amount of detail that modular systems are so good at. They also all use various methods to produce a poly-rhythmic, fractal feel as patterns shift and change throughout their tracks. The middle of the album then sees a fascinating experimental ambient interlude by Dave Bessell (a member of the synth group Node) using waveguide physical modelling in the analogue domain. The second half of the album has a rawer, more gritty feel with Richard Quirk building up a crescendo of wonderful textures in his track “Radar Hill”. This is followed by Hainbach using the exotic Ciat-Lonbarde series of hand built instruments to produce, in his words, a piece of “pure electronic music”. Nathan Moody then brings proceedings to a climax with a gnarly, muscular track using a Buchla modular system before the blissful ending piece “Marine Layer” closes out the 60 minute sonic journey the listener has just travelled.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gear’s sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Ciat-Lonbarde modular systems and the nine tracks show how varied and flexible these instruments can be.

'Tone Science Module No.2 Elements and Particles' continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.

01 Floating World by Todd Barton 8:41
02 Magnetic Lullaby by Bluetech 6:36
03 Additive Procedure by Parallel Worlds 5:56
04 Euneirophrenia by Paul Nagle 7:52
05 Overtone by Dave Bessell 6:37
06 Radar Hill by Richard Quirk 7:22
07 Your Strange Glitter by Hainbach 5:02
08 Prophet & Loss by Nathan Moody 5:02
09 Marine Layer by r beny 7:02

Total Time: 60:24

Released by: DiN

Release date:
19 October 2018"

A few cool KORG microSTATION patches

Published on Aug 29, 2018 SynthMania

00:10 L/R Piano
01:34 Suitcase
02:29 DarkJazzOr
03:26 Slow Choir
04:30 Fresh Vox
06:19 Film Brass
07:14 TremoloGtr
07:55 PureSynPad
08:49 DW8000Lead
09:39 PowerKit 2
10:29 Night EP
10:40 Wurly Jam
13:02 ElectroEye
13:57 Dream Pad
14:56 HardRock74
16:34 Misty Rain

AJH Synth Wave Swarm *Turn 1 VCO into 12 or your new "MAKE IT BIGGER" generator*

Published on Aug 10, 2018 DivKidVideo

"TIMING INDEX / SECTIONS BELOW - Here's the new Wave Swarm from AJH Synth. It's a dual 6 stage wave animator that can function as two independent (can do stereo) multi stage waveform animators or one big 12 stage animator. The animation is based on creating shifting versions of the input wave which when stacked with the dry sound or when stacking several stages sounds like mixing several detuned oscillators together. You can play around with each stage to emphasise or minimise the tremolo like sounds from the phase cancellations as the sounds modulate against each other. Typical applications would be turning a saw wave into a super saw but it will also do gorgeous subtle shifts in tone and harmonics with softer sines and triangles too. It will create thicker and almost glitchy effects with already modulating wavetables and complex tones while continuing to track the input wave. Determined to bend and push it beyond the basics I used it as a two distortion device and a weird wonky clock generator too.

TIMING INDEX / SECTIONS

00:00 Hello and previews of what's to come

00:56 Feature run down

01:31 Sound demo - triangle waves - looking at turning triangles to sines and then soft clipping them alongside the 6 stage animation

02:50 Sound demo - saw waves - making super saws! 6 stage and 12 stage animation

04:16 Stereo sources - two oscillators tuned a fifth a part animated independently one in each channel of the Wave Swarm. Looking at independent processing down stream for a wide stereo sound too.

05:53 Animating already complex waves - using the new V-Shape to twist and distort/fold a sine wave into something already complex and moving then letting the Wave Swarm further animate that for unison modulated 'stacks' of the sound. There's also some clipping to round off the wave.

08:14 Animating morphing wavetables - a second patch with more complex already modulating/morphing inputs. We also get into dual layer processing with the two outs here to create more simple pulses then swells of big detuned sound for more interesting patching from a single source.

12:42 Trying to animate drum sounds - also using the clipping stages as a dual (in series) distortion to drive the low end in some drum beats.

14:15 Wave Swarm - the new hot clock module! Ok ... maybe not, but while pushing and pulling this thing around as I often do before filming I managed to get one of the internal LFOs from the animation stages to feedback and 'thump/click' through the output. I used this as an audible percussion source as well as a clock source for clock dividers/multipliers and then made a beat from it. Adding other animation stages in creates a wonky clock that seems to trip over itself. This great as the modules down stream "trip up" and go a bit chaotic.

16:20 Stereo Wave Swarm animation, AB mono additional shaping and a lovely musical drone bathed in Finaliser R-EQ verb."

Smokey Quartz - Wretch Jam #11

Published on Nov 2, 2017 Smokey Quartz

"The Metasonix S-1000 howls and growls during this Halloween noise improvisation. Reverb provided by the Metasonix vacuum tube spring reverb module, R-56. The Knas Ekdahl Polygamist is possessing the Wretch, controlling it with pulse and gate signals."

Smokey Quartz - Wretch Jam #10

Published on Oct 30, 2017 Smokey Quartz

"I haven't posted a 100% Metasonix Wretch Jam in over 3 years so I decided to fire up that cantankerous monster for some improvised noise. Pulse wave and gate signals are being fed to the Wretch from the Knas Ekdahl Polygamist Synthesizer. The Polygamist is just out of frame and can't be heard but is acting as a dominatrix to the submissive Wretch, telling it what to do and running the show. Also, vacuum tube spring reverb is coming from the Metasonix R-56 module."

Plant Music #4 – (MIDI Sprout + Metasonix)

Published on Jan 30, 2017 Smokey Quartz

"In this experiment, the MIDI Sprout is a 'one-plant band', playing the drums and synthesizer. The MIDI signal coming from the Sprout are being sent to both the Metasonix D-1000 drum machine and the S-1000 Wretch Machine. With some MIDI tools in Ableton, I’m restricting the signal to 4 notes to play the D-1000. The Polygamist is also shown being manipulated but it is only sending control voltages to the S-1000, it is not heard in this video. Reverb is coming from the Metasonix R-56 Spring Reverb module just outta sight about the D-1000. I don’t start touching the succulent, a Crassula falcatta, until about 1:20."

All parts here.

Plant Music #1 (Knas + MIDI Sprout)

Published on Jan 24, 2017 Smokey Quartz

"In this video I try out the MIDI Sprout for the first time, connecting a Flamingo Flower (Anthurium andraeanum) to the Knas Ekdahl Polygamist synthesizer. The MIDI Sprout is a “Biodata Sonification Device” that allows plants to play synthesizers! Everyone and everything should be allowed to play synthesizers! Listen to how the sounds change as I touch the plant leaves and flowers."

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severence // mind lock patch

Published on Dec 10, 2016 severence

"// patch notes

antimatter brain seed seed out - schippmann omega-phi 1v/oct
antimatter brain seed trig out - steady state fate propagate in4

antimatter sub ring mix out - verbos electronics dual four polelowpass in

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MATRIXSYNTH Review and Overview of the Novation UltraNova

Hi everyone, you might remember, back in July I posted some pics of my newly acquired UltraNova, and mentioned that review posts would eventually follow. Well, I’m happy to tell you the first post is here. The UltraNova is one powerful synth, so to make the overall review a bit more consumable, it will be broken up over time. This first section includes an Overview, the Oscillators, and the Mixer sections. When new sections go up, I will be sure to let you know via a new post.

As with most of my reviews, I will say this one goes pretty deep into the synth engine and all editable parameters. If you are the type of person that likes to dissect and explore all of the available parameters on a synth, then this post is for you. I will touch on what each parameter does and will call out any interesting features and limitations as I do so. There are some pretty special parameters on the UltraNova that give you control beyond most other synths. Hopefully this review will give you some insight into what makes the UltraNova special.

Overview & Quick Comparison to Previous Nova Synths

The Novation UltraNova, released back in 2010, is a 20 voice virtual analog & wavetable synth with three oscillators, two ring modulators and one noise source per voice. The UltraNova also features two audio ins that can be assigned to the oscillator section and/or a 12-band vocoder. It’s worth noting that the Novation Nova from 1999 featured a 40-band vocoder, while the Supernova II from 2000 featured a 42-band vocoder. The UltraNova is a monotimbral synth while the 12 voice Nova was six part multitimbral and the Supernova II (24, 36, or 48 voice) was eight part multitimbral. The UltraNova supports up to 5 simultaneous effects per patch. The Nova supported 42 simultaneous effects, while the Supernova II supported up to 56. The Supernova II also supported FM synthesis while the Nova and UltraNova omit it.

The UltraNova, however, is the first Nova synth to feature wavetable synthesis. An interesting side note is that all of the oscillators on the UltraNova are actually stored as wavetables, including the standard waveforms. According to Novation, “The wavetables in the Supernova series are all calculated. The wavetables in the UltraNova, even the standard analogue waves are wavetable oscillators. This change in oscillator generation was first used on the A-Station and K-Station and subsequently in the KS series, X-Station and Xio.” This allows the UltraNova to have some advanced tricks when it comes to the oscillator section, which will be covered in detail below.

I asked Novation about the lack of FM synthesis and they told me, “FM would have been a lovely addition to the UltraNova, but it would have been asking too much of the DSP to be able to run everything the UltraNova can do and also add in FM. The wavetables were a really good way to introduce a new (to Novation) type of synthesis that is able to cater for some of the synth sounds that FM is known for and also to be able to create lush evolving pads.”

The UltraNova features two routable filters per voice with a total of 14 filter types to chose from including 6dB (no resonance), 12dB, 18dB, and 24dB with Lowpass, Bandpass and Hi-pass modes. The Nova and Supernova II lacked a 6dB mode.

As for hardware, although the UltraNova may have fewer knobs per function than its predecessors, it is extremely well laid out and super intuitive to use. Along with both keyboard velocity and aftertouch, the UltraNova has touch sensitive knobs. They literally respond to touch and can be assigned to various parameters. Worth noting, velocity is configurable, however, aftertouch is not. I found the aftertouch to be good, but it does require a little extra force than I prefer; it’s good for not accidentally triggering it, but not so good for subtle, natural performance.

Please note the above comparisons with the Nova and Supernova II were only for quick reference. The UltraNova of course is its own synth with a few tricks up its sleeves that are lacking in the original Nova line, including a level of control over the synth engine often only found in the modular realm. It sounds incredible, and for the price, currently only $599 new, it is an extremely flexible and powerful synth. You get the current top-of-the-line Novation Nova synth engine with new wavetables and more. The UltraNova is both a performance oriented synth as well as a synth programmers dream. It can be configured for easy access to specific parameters for a live situation, or you can dig as deep as you want with a clearly well thought out interface.

That said, let’s dig in.

The following review and overview will essentially go over the signal flow of the UltraNova followed by performance controls including the arpeggiator and the hardware interface. I’ll go into a little detail on what each feature can and cannot do in an attempt to give you a detailed idea of what the synth is capable of. Because my reviews tend to be a bit on the longer side, I will be posting the sections in chunks over time to make it easier on you to consume and for me to compose.

First we start with…

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Metasonix R-56 test

Published on May 17, 2016 Mat Hnedy

R-56 Vacuum Tube Spring Reverb Module

Buchla Music Easel & Vermona Drum

Published on Jul 4, 2014 DJjondent

"Mucking around with the BEMI Buchla Easel and a Vermona DRM 1.
The Drum is triggered via a Synovatron CVGT1 & Delphtronics TriggerMan. Towards the end I'm testing a Metasonix R-56 Reverb.

The distortion dial is pure evil (or is it genius). I love the sound of Vacuum Tubes in the night. Thanks AC.

I'll post some pics later on my blog."

Metasonix R-56 Vacuum Tube Spring Reverb Module

Published on Apr 25, 2014 bigcitymusic·329 videos

"00:00 to 00:20: Cwejman D-LFO Sine wave into Metasonix R-56 Reverb with gradually increasing R-56 'Wet Level'.

00:20 to 01:20: Cwejman D-LFO square wave into R-56 with MIDI sequence via Mutable Yarns. R-56 Mix Output into Cwejman QMMF-4 channel set to 'OSC' and LPF mode. Mutable Yarns Gate output is triggering Mutable Tides which is enveloping the cutoff of the Cwejman QMMF-4 lowpass filter enabling control of the R-56 reverb tail and D-LFO amplitude.

01:20 to 02:13 - Cwejman D-LFO synced oscillators into R-56 with MIDI sequence via Mutable Yarns. Cwejman RG-6 is controlling the sync ratio of Cwejman D-LFO oscillator 2 to Oscillator 1. Experimenting with R-56 feedback amount."

Wretch Jam #8

Published on Apr 21, 2014 Smokey Quartz·9 videos

"A wretched improvisation with the Metasonix S-1000 Wretch Machine and R-56 Spring Reverb module. Storge' the cat lends his support."

All parts here.

Wretch Jam #7

Published on Apr 20, 2014 Smokey Quartz·8 videos

"Another hypnotically horrible Wretch jam with the Wretch Machine and R-56 spring reverb module."

All parts here.

Wretch Jam #6

Published on Apr 19, 2014 Smokey Quartz·7 videos

"Another wretched jam with the Metasonix Wretch Machine, D-1000, and R-56."

All parts here.

Metasonix Wretch Machine Videos by Smokey Quartz

Wretch Jam #1 Published on Apr 12, 2014
An experiment. Metasonix S-1000 Vacuum Tube Synthesizer and R-56 Vacuum Tube Spring-Reverb Module. No keyboard or controller, just the S-1000 ran through the R-56. A lot of the noise, feedback, and distortion is coming from the R-56. Everything is competing for the attention of those little springs in the R-56. Lo-Fi, noisey, droney, and live.

The video is from an old digital camera. The audio is recorded straight into the computer with a little bit of EQ and compression. I can't say this is representational of the S-1000 or R-56 sounds, it is just what came out tonight.

Wretch Jam #2 Published on Apr 13, 2014
Another all tube improvisation, this time with the Metasonix S-1000 synthesizer and D-1000 drum machine being ran though the R-56 Spring Reverb module. The Elektron A4 is sending some triggers to the Metasonix gear but is contributing no sounds. Everything is competing for those little reverb springs.

Video is from an old digital camera. A mono audio signal being recorded straight into the computer with a compression and EQ.

Wretch Jam #3 (with Drone Cat) Published on Apr 14, 2014
Another with the Metasonix S-1000 and D-1000 being ran through the R-56 reverb module. Storge' the cat assisted.

Wretch Jam #4 Published on Apr 15, 2014
More reverberated, vacuum tube farts. Recorded during a total eclipse of the moon. 415.2014

Metasonix S-1000 synthesizer and D-1000 drum machine ran through the R-56 reverb module. Interrupted by kitten.

Wretch Jam #5 (with Drone Cat) Published on Apr 16, 2014
A quick drone with kitten. The Metasonix S-1000 vacuum tube synthesizer ran through the R-56 spring reverb module.

Wretch Jam #6 Published on Apr 19, 2014
Another wretched jam with the Metasonix Wretch Machine, D-1000, and R-56.

Wretch Jam #7 Published on Apr 20, 2014 Smokey Quartz·8 videos
Another hypnotically horrible Wretch jam with the Wretch Machine and R-56 spring reverb module.

Wretch Jam #8 Published on Apr 21, 2014 Smokey Quartz·9 videos
A wretched improvisation with the Metasonix S-1000 Wretch Machine and R-56 Spring Reverb module. Storge' the cat lends his support.

MATRIXSYNTH Lounge Studio Pics

Studio pics from readers of MATRIXSYNTH via the MATRIXSYNTH Lounge.

Facebook gallery where you can find follow-up comments for each here.  Also keep an eye out for new studio pics there.

Featured in order:

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Metasonix R-56 Vacuum Tube Reverb Eurorack Module

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

via this auction

Details and audio demo captured here.

New Metasonix R-56 Reverb Module

via Big City Music

"Very limited number coming by Tuesday, November 12th. Pre-order now (or don't). As soon as the very limited number have been pre-ordered, the "add to cart" button will go away.

The R-56 is unique and never before available in any form. It is a limited-issue product.

It uses two 9-pin miniature triode-pentodes, type 12CT8. The design is optimized for maximum sound quality and minimum noise and hum. It is presently the only vacuum-tube spring reverb usable in a Euro-rack modular synthesizer.

The Input Drive level allows adjustment to suit any signal level, from -10dBu to the hottest module audio output. By overdriving the input, tube distortion is added, then solid-state distortion effects, from subtle to extreme. The two Output Level controls allow adjustment of the output mix, between totally "dry" (no reverb effect) to totally "wet" (reverb effect signal only). An added "Wet Only" output jack carries only the Wet signal for experimentation.

A feedback loop allows for direct feedback around the spring. This effect is independent of the input signal and affects any input signal. It can produce feedback oscillations whose frequency is dependent on the spring delay time and the driving signal. An Invert switch allows inversion of the drive signal to the spring input, which can produce drastically different sounds, especially on bass-heavy transients such as bass drums.

The miniature reverb spring "tank" is mounted directly on the front panel. If physical access to the springs is desired, the plastic cover can be easily removed by undoing two snaps.

Two CV inputs are available. One for controlling input preamp gain, from complete cutoff (-2v) to maximum drive to the spring. The other controls the feedback loop around the spring, for a wide range of chaotic distortion effects (the Feedback control knob must be turned up for this effect to operate, as it uses a vactrol to increase feedback around the potentiometer).

If the users wishes to attach a larger (guitar amp style) spring tank assembly, a set of RCA jacks on the rear is provided. The external tank should have an input impedance of 300 ohms or more, and an output impedance of 1000 ohms or more. The internal and external tanks may be operated together in parallel, for very complex reverberation effects.

Because the R-56 is a special limited-issue module, it uses an extremely high-quality custom engraved anodized aluminum front panel, with black paint infill.

Power requirement: +-12v dc, 300 mA after warmup (800-850 mA cold startup is required for 3-5 seconds). Tiptop uZeus and "Happy Ending" power supplies cannot run the R-56 and are not recommended. Most Doepfer(tm), Monorocket(tm), Analogue Systems(tm) and other third-party cabinets should have no trouble powering the R-56.

The Metasonix R-series of vacuum-tube modules is intended for use in any "Eurorack" standard modular synthesizer system. The R-56 module is 28HP (146mm) wide and fits in any Doepfer(tm), Analogue Systems(tm), or other compatible cabinet. The R-56 is powered entirely from the cabinet's internal +-12v dc power supplies, using Doepfer compatible 16-pin power connectors. (+5v power is not used.) The circuits protrude behind the panel less than 38mm (1.5 inch). All vacuum tubes are NOS (new old stock) types from classic American and European manufacturers that are run very conservatively for long life, and are readily available from distributors. The tubes protrude from the panel for visibility and cooling, less than 38mm (1.5 inches), and should fit inside a Doepfer A-100 suitcase cabinet lid or into a Doepfer mini case. All audio inputs and outputs and CV inputs/outputs are 100% compatible with other synthesizer modules. Plate voltage is provided by a tiny switching supply producing clean 48v regulated at low current, which is very safe and will not injure the user. Potentiometers are top-quality Alpha RK12L types, and 3.5mm phone jacks are special Kobiconn vertical-mount types, much better quality than the cheap ones usually seen in Euro modules. Each R-56 is fully protected against reverse supply voltage, overvoltage, undervoltage, or incorrect hookup to external equipment. As with all our products, the R-56 is totally handcrafted in Northern California, USA."

Final Set of A-Z of Analogue Synthesisers

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

via this auction

The listing is from the author Peter Forrest who states this is likely the last set.  These are great books and imo the most comprehensive.  Click on the pics to get an idea of what they are like.  Peter also has other items listed including The Museum of Synthesizer Technology and Synthesizer von Gestern II.

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