A Review of KORG Gadget and it's List of Synths by Myagi

Check out the full review on Warp Academy. This was going to be a cross post review with Myagi's approval, but I opted to link to the full review and only capture the notes on each synth below as you don't see the full list often.  In short though, Gadget is Miyagi approved.  :)

"Gadget is a different beast than we’ve really seen on the iPad before. It’s not a single synth like the iMS-20 or the Arturia iMini, but rather a 'suite' of mini-instruments tied together with a fairly robust sequencer (by mobile standards anyway).

There was no skimping on this collection, with 15 total offerings. Instead of taking the approach of one instrument doing everything, the 'Gadgets' allow the entire app to function as a sort of audio swiss army knife, with specific instruments filling specific roles.

The Gadgets

London is the suite’s main percussion contribution. The samples are better than expected, bordering on excellent to be honest, and there is a good amount of dynamic optimization to make sure you can get appropriate thwack out of your main elements.

Chicago is essentially a 303-style emulator. This Gadget includes some pretty nice onboard effects as well as a built in tube overdrive simulation. A nice arpeggiator and scale selection actually allows for the rapid creation of some pretty inspired acidic hooks. I’d buy this alone as a VST/AU instrument.

Marseille is basically a sound bank of the essentials. Piano samples, string samples, etc. Really this is a utility module used to cover a lot of bases. Not the most interesting but a necessary inclusion. A built in chord function expands its repertoire a little.

Brussels is optimized for big detuned leads and is a go to for big electro-anthem style leads. Doesn’t sound bad actually, but not my bag personally as I tend to think this type of sound is pretty overused. A good amount of depth though for sure.

Kiev is a vector based synth, and for those who haven’t played with vector synths before, you’re in for a treat. They are GREAT for specially intricate drones. This guy is a lot of fun.

Phoenix - with its Oberheim style front panel, this polyphonic virtual analog is a nod to the OB-8 etc., and fills the role nicely. Big 80s style leads and chord sounds abound, and it’s not a slouch for bass sounds either.

Dublin takes us back to a familiar Korg lineage. It’s like a little second cousin to the MS-20 series, with a degree of patchability and modular style controls. Pretty deep for part of a 15 pack if I don’t saw so myself. This one will look after all your weird bleeps and bloops.

Miami I expected to dislike, but once I got over the lowest common denominator graphics and styling, I was impressed. It was bound to show up somewhere – this Gadget is the 'wobble synth' that will probably see a ton of use. Designed to help easily produce dubstep style basstones, it actually sounds pretty darn good, and the LFO sync automates REALLY well.

Tokyo is an interesting inclusion but a welcome one. It allows for some really cool adjustments on analog style percussion sounds. Think 808 style controls on pitch, etc. and you’re in the ballpark. Pretty flexible and damn if I don’t love some distorted analog toms.

Wolfsberg allows for digital control of analog style sounds. I mean – this is ALL digital control, but in this case, the analog waveforms have been optimized in a nice unit with tons of modulation capabilities and a pretty deep sound. Not one of the go-to’s per se, but a nice Gadget nonetheless and capable of some really nice sounds with its additional envelope and effects.

Berlin - now we’re getting into some interesting stuff. Designed to produce tearing hard sync leads, this is a tiny beast. Funk abounds.

Helsinki could well have just been called Boards of Canada. An ambient synth, it combines great waveforms with really nice sounding reverberations and some chipset style degradations. Melodic and deep.

Chiang Mai utilizes VPM – or Variable Phase Modulation – and is a cousin to FM in terms of sound. Great for clangourous tones and metallic elements, this Gadget works for 80s leads or even some intricate, high harmonic bass tones. Korgs work with VPM in other synths has produced a really easily workable high timbre sound source.

Amsterdam is a sort of 'dub siren' utility, full of decorative one shots and transition noises. Lots of things here that you COULD do with other modules – not my favorite but I’m sure it’ll get some use by anyone looking to produce entirely within this virtual 'box.'

Kingston is a wicked little chiptune Gadget, capable of video-game style leads and effects, and is heavy on the lo-fi digital vibes. Total essential."

Gamechanger | Audio launches crowdfunding campaign for electro-mechanical MOTOR Synth

"RIGA, LATVIA: having successfully showcased MOTOR Synth as the world’s first electro-mechanical desktop synthesizer at SUPERBOOTH19 in Berlin, May 9-11 — wowing well-known attendees like legendary French electronic music pioneer Jean-Michel Jarre and Atlanta-based American electronic musician and acclaimed sound designer Richard Devine in doing so, uncharted music electronics territories explorer Gamechanger | Audio is proud to announce that its IndieGoGo crowdfunding campaign starts on Tuesday, May 28 (at 4PM GMT)…

Once its IndieGoGo crowdfunding campaign commences, MOTOR Synth will be available to pre-order — prices starting at $749.00 USD — for 30 days. After the crowdfunding campaign closes, MOTOR Synth will only be available for online and in-store purchase at an MSRP (Manufacturer Suggested Retail Price) of $1,299.00 USD when shipping starts, scheduled for around November/December 2019.

As the world’s first electro-mechanical desktop synthesizer, MOTOR Synth really represents a new method of analogue audio signal synthesis since digitally-controlled electromotors (used to convert electrical energy into mechanical energy) have never before been used as the principal sound source for a commercial musical instrument. In a nutshell, MOTOR Synth produces sounds by accelerating and decelerating eight electromotors to precise RPMs (revolutions per minute) that correspond with specific musical notes. Each electromotor is fitted with a magnetic pickup/inductor and an infrared photosensor that reads a spinning optical disc with printed sine, sawtooth, and square wave-shapes. Besides using motors as oscillators, the rest of the synth’s features are designed in the best tradition of analogue gear.

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How to Repair a Poly-61

Click here for a website on how to repair the Korg Poly-61 via Michael.

"Welcome to my documentation of the odyssey repairing some Poly-61s, as i recently bought 3 of them with the intention to get at least 2 of them working perfectly. If you want to repair a Poly-61, i have to warn you - it is quite a lot of work to get it perfectly working again, if it has the full repertoire of usual problems of this synthesizer. First of all, if you don't want to do a full restoration, you should know a bit about the inner workings of the Poly-61. This is where i want to start. So let's have a look at the anatomy of the Korg Poly-61."

Update: unfortunately the link above is gone. I found the following from Really Nice Audio: 


POLY61 RepairS video upload by Really Nice Audio

"By changing the switches and cleaning the keyboard contacts you can bring a synth back to its former glory."

Cheetah Marketing Specdrum EP3 Alternate Sounds and SYNCHRO Start

Really Nice Audio

"In this final Specdrum video we take a quick look at the extra sounds that were available and how to sync the system to a DAW."


Really Nice Audio Specdrum posts

Really Nice Audio - RNA Replicator, dualHMVCO1a & CV Mixers Eurorack Modules

The RNA Replicator - x8 CV Buffer Eurorack Module

Published on Feb 10, 2015

"Replicating the Replicator"

It looks like we have a new modular DIY maker. Really Nice Audio or RNA for short currently has three modules listed on their site, the replicator x8 CV Buffer (video above), the dualHMVCO1a VCO, and CV Mixers based on an adaptation of Ray Wilson's MFOS design.  Details on each captured for the archives below. They also do DIY synth mods and repair including work on the Yamaha DX-7, Korg Poly-61, Korg Monotribe, Oberheim DMX, and OSCar.

the replicator

"This versatile CV Buffer features 8 buffered outputs as well as 2 buffered inverted outputs.

The toggle switch inverts the voltage to the bottom 4 outputs.
2 bi-polar LEDs show the voltage polarity for each bank of 4 outputs.

It can also be used as a 2 x 4 channel buffer as inserting a signal into the IN2 socket overrides the bottom 4 outputs.

Comes with eurorack ribbon power cable and 2x 3mm screws."

dualHMVCO1a

"With 2 boards I claim 4 oscillators!!"

CV Mixers

"This CV Mixer system is an adaptation of Ray Wilson’s design found in his Multi-Function module from the essential MFOS website. I wanted to make a modular design with minimal wiring. All pots are soldered to the PCB whilst the sockets connect to a 5 pin single row IDC. This way you can use ‘each side’ of a 10 pin IDC to connect 2 mixers at a time to your socket panel. I made a socket panel which has 2 x 10 pin IDC connectors so 4 mixers can be connected. Built into my socket panel is a Common Input which buffers this signal each of the 4 CV 1 inputs. Inserting a plug into a CV1 input socket breaks the buffered signal.

This system I built for my 4x HMVCO1a so I have wired each mixer output to its corresponding oscillator via the ‘normalled’ pin each CV input socket.

Each CV Mixer gives you :

A coarse voltage bias

A fine voltage bias

3x CV inputs with attenuators

A bi-polar LED indicator showing polarity of voltage"

Retrovirus basic cv in DEMO

Published on Aug 26, 2018 Really Nice Audio

"Here is a simple demonstration of a 10V peak to peak LFO (+/-5V) controlling each stage of the envelope."

Really Nice Audio Retrovirus

Synth Shop Hieber-Lindberg, Munich, Germany

via cheater cheater:

"I thought your readers could be interested that there's
such a nice place in Munich for synths.. it's not exactly Five G but
then they don't have to fly to Japan for it.. :)

Hi guys,
Last Saturday I have visited the music shop Musikhaus Hieber-Lindberg
in Munich, Germany. I was tipped off by Florian, who said it could be
interesting. You can find their website at
http://www.hieber-lindberg.de (unfortunately only in German, but it's
easy to find your way around, and Google Translate works well)

The Shop

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New Mutable Instruments Beads Texture Synthesiser Eurorack Module

Playlist:

1. Mutable Instruments Beads - exploration and tutorial by Tom Leclerc
2. Mutable Instruments Beads (no input) by Robin Rimbaud-Scanner

First play with the Mutable Instruments Beads texture synthesiser. And here's a wonderful surprise - if you leave both audio inputs unpatched, then after 10 seconds it begins to granulise a collection of stored raw waveforms taken from Mutable Instruments Plaits wavetable module. So here's a piece using Beads as the lead voice on this cinematic piece, with no other inputs. I added other instruments afterwards for rhythm and bass, and the singular pulse that holds throughout is from the Make Noise Mysteron. This is just an idea to show Beads in a very musical context

3. Heidi Concrète (featuring Mutable Instruments Beads) by Robin Rimbaud-Scanner

An experimental piece using Mutable Instruments Beads, the texture synthesiser, processing an audio file. No addition effects or processing were used. This is simply a live exploration of a single audio file with Beads. The original voice introduces and closes the piece so you can compare the two sonic worlds before and after Beads. The voice is taken from a scanned phone call in the early 1990s that features on my Delivery (1997) album.

4. A Little Beat with Mutable Instruments Beads (Wavetable Mode) by midcentury modular

This is Beads running in the internal wavetable mode (and a kick drum from plaits). I've got a gate going into freeze that acts as a mute when the kick comes in (sort-of side-chain like), and I'm also manually pressing it to mute and sustain the random sequence.

The pitches are not from an external cv source but generated internally with the peaky random distribution into the time knob. The pitch changes with this parameter seem to be somewhat harmonically related (though I'm not sure what specific scale) to the root set by the pitch parameter.

5. Overdriven Ambient Looping with Mutable Instruments Beads by midcentury modular

This video is some improvised choir sounds (from the Ableton Operator synth, played with a midi keyboard) ran into Mutable Instruments Beads in the delay/looper mode (with "sunny tape quality") Throughout, I add to the buffer by tapping out of freeze mode and back in. When the feedback is up, things stick around, so you can progressively add more and build up the buffer. I'm also experimenting with overdriving the input (by turning up the audio level going into beads from ableton with the top left 1U knob)

6. Mutable Instruments Beads (Scorched Cassette Mode) and Ciat-Lonbarde Plumbutter Deerhorn by midcentury modular

This patch is my attempt at using Beads to add some Cocoquantus-like magic to the Deerhorn. I think the downsampling, lower-bitrate and whatever other DSP tricks are happening in the Scorched Cassette mode are crerating a somewhat similar vibe to the 8-bit dolby loopers in the Coco, and I think this adds some really nice fizzy textures to the warm, raw-oscillator tone of the Deerhorn). Beads is also pitching down the two tones from Deerhorn to add a bit more melodic content.

There is some very subtle modulation coming from the orange out on Deerhorn, but it's not really doing a ton and could probably be left out and you wouldn't be able to tell much of a difference. There is some audio-rate modulation coming out of one of the white deerhorn outputs into the density input, which is modulating some of the AM stuff going on when density is high towards the end of the track.

No idea why the snapping gesture with the density knob caused the "knock on wood" sound, but I think it was a pretty cool accident!

7. Noisy Experimenting with Mutable Instrument Beads, Blades Ripples and Plaits

This patch (at least as much as I remember it...been a while since I made this) is Beads and Blades in a sort-of feedback loop. Blades is over-driven and self-oscillating, and the outs are sent to control seed and freeze on Beads (which is using the internal wavetable generator as audio input). After trying out various ones, I found these two control inputs on Beads the most interesting with audio rate signals. The outs of Beads are going into the audio inputs of blades. Both modules outs are multed out and into veils which is acting as a stereo mixer. Ripples (which is getting some noise into its cutoff modulation input from Plaits) is providing some audio rate modulation to some of the Veils channels.

"Beads is a reinvention of Mutable Instruments’ Clouds.

The concept is the same, live granular processing of an incoming audio signal, and the labels on the panel remain familiar.

The similarities stop here. The hardware and software have been redesigned from the ground up, with several goals in mind: a crisper and broader sound palette, more control, better playability, and direct access to exciting new features.

DOTTING THE I’S AND CROSSING THE T’S

Beads’ vastly improved specifications allow a higher audio quality, a longer buffer, the use of better interpolation and anti-aliasing algorithms, and key DSP blocks to run at a faster rate. Granular processing can now go to new territories, such as formants, wavetables, hard-sync-like sounds, or crispy noise.

The range of parameters, their response to the turn of a knob or a CV modulation have all been refined, for new possibilities such as reverse playback or percussive envelopes.

CONTROL, CHAOS AND CHARACTER

Control. To trigger or schedule grains, Beads provides new features to divide or randomize an external clock or trigger stream, spray bursts of grains in response to a gate, or get the grain rate to track a V/O CV or the frequency of an external oscillator.

Chaos. Each key parameter of a grain comes with its own attenurandomizer, which allows direct CV control, CV control of the randomization (spread) of this parameter, or internal randomization using some of Marbles’ algorithms.

Character. Beads provides four audio quality settings, which go well beyond buffer sample rate and bit-depth: they affect the clock of the converters, the amplitude limiting and saturation of the signal path, the tone of the reverb, and additional media-emulation effects. From a pristine digital device to a dirty cassette, through a mode reproducing some of Clouds’ characteristics.

MODES?

Beads can operate as a delay without the need to switch to a different mode: just ask it to play a never-ending grain. Its DENSITY, TIME and SEED controls are repurposed to allow various features such as tap-tempo, beat slicing, time-stretching, or comb-filtering at rates tracking V/O.

Without any audio input, Beads will granularize 8 internal banks of wavetables.

All parameters have a dedicated knob."

SERGE MODULAR ANALOG SYNTHESIZER

images via this auction

"Each of the two panels was designed as a complete system or voice in and of itself but combined together there is an exponential increase in sonic power. The other important thing to remember is that with the Serge many of the modules can perform a number of different functions and the concept of "patch programmable" is inherent in the design. Based on how you patch the modules this system could have over 10 oscillators, 10 LFO's, 4 Envelopes, 6 Filters, 2 Sample and Holds, 5 VCA's, all sorts of cv and audio modifiers, mixers, sequencer and a whole lot more. The power is unmatched in any other system and would require a much larger system from other manufacturers to provide this level of functionality.

TOP PANEL:

* 8x2 Sequencer: This is an eight by two manual and clocked sequencer with some unique functions. The main CV outputs are "A" for the first set of 8 knobs in Row A and "B" for the second set of 8 voltage knobs for Row B plus a third output that is the difference of A and B. There is a main Clock Input that can be manually toggled on/of with the toggle switch. The sequencer can be clocked buy any red jack output as well as some of the blue outputs that have sharp positive going signals. The other inputs are for "Hold" which will stop the sequencer at what ever stage it is at when a trigger or gate is input. The Up/Down Input reverses that direction of the sequencer whenever it receives a pulse and the Reset input resets the Sequencer to the first stage when a pulse is applied. Each stage has a manual select button which can be used to select that stage when used as a manual CV programmer and when being clocked the buttons can be used to set the length of the sequence dynamically from between 1 to 8 steps. This allows for some amazing rhythmic patterns and dynamic changes. Really powerful and great for TB-303 type use.

* Active Processor: This module is basically a dynamic voltage controlled mixer and cross fader an can be used with either control voltages or audio signals. A cross fade mod input allows you to dynamically mix and or fade between the signals coming in the two inputs. You can also use this as a VC switch by allying a gate to the input. The bottom section is a cv inverter with the addition of a knob to further bias the output + or -.
* Dual Transient Generator: This module is one of the most powerful in the Serge system and uses the same circuit as the Dual Universal Slope Generator but is only 2" wide. Each side of this module can perform the following functions: Attack Decay Envelope, Attack Sustain, Decay Envelope, Low Frequency Oscillator, Audio Oscillator, Positive/Negative CV Slew, Audio Filter, Envelope Follower. Each side has a modulation input with a knob to determine if the incoming mod signal will modulate in a positive or negative direction. The left side has a black Input Jack the provides for filtering, slewing and envelope following. The right side has a 3 position switch that allows you to define if the incoming modulation signal at the bottom will modulate the Attack Time only, Decay Time Only or both Attack and Decay. You can get voltage controlled wave shape modulation as well....all amazingly cool!Note that the arrows for the switch and the Input jack are backwards on this module only and that is the way it came from the factory. Nothing wrong, you just need to keep that in mind.
* NTO New Timbral Oscillator: The NTO is one of the most powerful oscillators ever and has incredible sonics and versatility...like most Serge Modules. There are simultaneous Sawtooth, Triangle and Sine wave outputs in addition to a Variable Waveform output whose waveform can be CV selected, modulated and controlled. There are (3) control inputs...a 1volt/octave, a mod input with a knob to determined + or - direction and a voltage controlled portamento input. This is a cv input with voltage controlled slewing or glide with the addition of a manual knob to set the basic amount of slewing!! Last but not least is a voltage controlled FM input with an offset knob. There is also a Sync input to allow for syncing to another audio signal. This single oscillator can make truly incredible sounds and can be modulated out the wazoo.

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Eurorack Modular Review by Hefix93 of Velvet Acid Christ

Hefix93 of Velvet Acid Christ sent the following review of his new Eurorack format modular synth featuring Doepfer, Plan b, Livewire and a Kenton Pro Solo for MIDI to CV. You will find samples at the end of the review.

"Kenton pro solo: Amazing midi to cv converter, its tight, real tight with logic sending it midi. i like the portamento and other things i can get out of it.. very good, worth every peny, also can do extra cv modulations with the aux out jack.

Plan b model 15 osc: The saw wav on this is simply mystifying. huh? i mean it is the meanest saw i have ever messed with. PWM is not so great, no attenuator and there is only active pulse on the pwm knob from 10 o'clock to 2 o'clock (don't know if this is standard on all modulars, as this is my first) this really irritates me [Update: this is addressed at the end of this review by Peter Grenader of Plan b]. I got neat fm sounds, and sync. the sine is pretty cool. The small frequency knob really kinda irks me, its so hard to dial in any kind of tuning, which makes this a real bummer for live use. I hope i can get the pwm to work how i want in the future, if so, this osc will probably me favorite of all time. Seriously rips. This thing is so mean. I want to have him build me a custom osc based on this model 15 with all the things i want. i hope he will. I want a osc octave switch, pwm attenuator and a bigger freq knob that isn't so overly sensitive and hard to tune (granted, these are the first modular oscillators i have used so). I seriously love this osc.

doepfer a-118 Noise/random: wow, i love the colored noise on this module. and the random voltage thing is kinda neat as a modulator on my filter and other things. nice.

doepfer a-138 mixer: Wow this sounds decent. if you over drive this past 7, it gets pretty aggressive, great for the kind of music i do. nice..

doepfer a-131 VCA: Again decent sounding, and man if you go past 7, it gets real mean. i love it..

doepfer a-143 quad lfo: nice to have 4 lfos, i like the speed switch, this goes real slow and nice and fast. i love it. better than most synth lfos i've had. Can go real fast in the high mode, fm audio. nice...

doepfer a-125: this is the best phaser i've ever had, and i haven't had many, makes the phaser in the virus ti sound like a toy..can sound real thick and heavy, very psychedelic. wow. this will make my psy trance tracks kick major butt..

doepfer a-188-1 1024 bbd: Very cool short delay that does chorus and flange ok, not the best i've heard, the modcan sounds the best so far. but for strange detuned rubber band delay modulation sci fi weird stuff, this thing really rocks, but it makes me wish i had room for the 188-2 instead.. hrmm... still really good for the money.

doepfer a-140 adsr: Very snappy. i mean this thing handled my 160 bpm bass duties at 16th notes very well. better than most stuff i have owned. i have not tried to make kick drums yet or other percussion, so i don't know how well it does there. but for bass and leas, out standing fast poppy envs. i have not messed with the other speed settings other than the m. and that suits my needs so far. i got two of these. and man, i'm loving it.... so fast tho, they can pop, you have to mess with the attack and release a tad, but man. it snaps..

doepfer 1-180 multiples: what can i say, they split the multiply a signal by 3. awesome. does its job well. i get 1 in and 3 out x2 per module, i got 2 of these..

Livewire Frequensteiner multimode filter: i saved the best for last. what can i say, this thing is aggressive, and man, it is simply the best multimode filter i have ever owned. The low pass is very aggressive, as is the bandpass, and the highpass, but man, the high pass is the best on this filter. it hisses and bites and cuts in a mix so well, i cannot explain how much i love it. But honestly i really like all the filter modes a lot. if i push the audio input past 7 or 8, it over drives and gets really mean, i mean super pissed. AMAZING. This thing is worth every penny, i love the knobs, and the nice big frequency knob is much loved here. What other multimode filters have i owned? nordlead, jp8080, virus up to the ti, the jupiter 6, the andromeda. This thing is sick, i mean so great, i cannot rave bout it enough. This is now my favorite synth filter ever. Even beating out my love for the minimoog and jupiter 8 filters.. i'm just into that aggressive exciting sound this thing gives me.

I sold my roland jupiter 8 for this [posted here]: i am not looking back, i love that old vintage lush instruments. but i needed something with more balls and bite and aggression, i got it. What i am able to pull of with this is amazing seriously mean bass and leads, that cut on all frequencies of the spectrum. And all the strange ufo sci blips and beeps that modulars are know for as well. This doesn't sound vintage, it has its own new sound, its stable and alive, but very precise and tight. zippy, and responsive. so much more so than i am used to. the modulations in the andromeda were sluggish and oogy, this is lightning fast and responsive, just how i like it. I am so glad that i took this big step. Sure i have some issues with the implementations on the the plan b model 15 with its pwm strangeness, but other than that, i love it all. I took back my virus ti and vsynths because they just didn't cut into my analog drum machine and monosynth dominated mixes. This thing does. it can get in there with my sh2, and future retro revolution just fine. as to where my virus would sound all faint and wouldn't cut, even with the high pass, it would kinda get lost and not stand out. that is not a problem here with this system. This is why i love analog so much more in the kind of music i make, i need stuff that has presence in the mix. digital doesnt. ANALOG DOES!

Sure after it was all said and done, it cost me about $2750. I bought it all from Analogue Haven .. please if you do buy stuff because of these sound demos, tell them that you heard the clips from velvet acid christ and read this review. I want a hook up for getting him business. I'm addicted to this modular stuff, and i need all the help i can get now.. :) Shawn really is the one who help me build this system. He and i go way back. I'm so glad his store exists now. really helped me out here. i've been lusting after a fat system with a multimode filter for years. I FINALLY HAVE FOUND IT.. i'm so happy..

Oh and by the way, i made a bunch of quick sound demos of the this system doing the typical vac arp lines and basses. Feel free to check em out. I hope this gets you interested in modulars.. They are not just for strange blips and beeps, they can be great musical instruments as well. not just for the weird sci fi. take care.

bryan aka hexfix93 aka phuckhead aka disease factory....."

Samples:
http://www.velvetacidchrist.com/synth/model15frequensteinera-125vcp.mp3
http://www.velvetacidchrist.com/synth/model15frequensteiner2lp125vcp1881bbd.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerlp3.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerlp4.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerlp5.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerbp6.mp3
http://www.velvetacidchrist.com/synth/model15frequensteinerhp7.mp3

Update via Peter Grenader of Plan b regarding PWM on the Plan b Model 15:"Morning...

The PWM construction is designed that way so that there are more possibilities for the VC input. I played around with this a lot while cooking the VCO, you're going to get some very interesting sounds when the manual offset is positioned to either the far left or right (either into the 'silent' zone) and a VC is applied to pull it back into audio that aren't availible otherwise. My PWM sound is unique, I wanted to keep it that way.

I think there is a misconception that by only having the square audible from 10 to 2 that you're loosing something. You're not - it's all there, it sweeps from full neg, through 0 to 100 duty cycle, then back from 100 to 0 to full positive. it just transverses that from the 10 o' clock pot setting to the 2 o clock pot setting. the balance of the pot regions, when the signal is zero is not wasted, it's there for VC possibilities.

If you own one of these, try it, you'll see what I'm speaking about. Move the pot to silence, apply and VC, then move the pot to so that the square isn't silent and apply the same VC. I didn't want to loose both effects.

hope this helps,

- P "

BPMC Circuit Bent Panasonic WJ Ave5 2 channel glitch video mixe

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

"Modified WJ-Ave5 2 channel glitch video mixer. w/ Control box, a hand crafted manual & all the patch cables you'll ever need.

Note: Although I am associated with Folktek this work is unaffiliated with Folktek.

This is a heavily modified two channel NTSC composite (RCA) video mixer. It still functions completely in it's original form but has an added twelve glitch effect ports PER channel, it also has two ports for wipe glitch effects. The control box gives you maximum control over your glitch effects allowing you to implement two separate audio feeds to drive the glitch visuals (all the controls on top and back) or just patch in to one of four pots to hone in on certain glitch looks. I've built a slew of these now and this is my favorite build thus far. The control box is super light weight, great for gigging, and the effect port selection features a really nice array of stable exploits. The two separate independent feeds for incoming audio is nice too because then you can do things like output a drum machine kick drum to channel A and a snare to channel B and mix between the two channels with different glitch visuals applied to each channel. It's a good look. Or you can flip a switch on the back and just use one audio feed to be shared by both channels. The audio impulse set-up features 1 RCA input for each channel, a wet/dry for each channel, 5 switches per channel, and two push buttons for each channel. I've also two outputs per each channel on the lower portion of the front panel so you can patch sound in to the pots or to other equipment.

The creative possibilities with this thing are endless.

The Ave5 is one of my favorite composite video mixers giving you a slew of handy built in effects, a superimpose layer, a variety of useful/ironic wipes and a TBC all under one roof.

This WJ has TWO modes of operation:

SOUND VISUALIZATION MODE:

By plugging a well-amplified audio signal in to the modified AVE-5 control box you can profoundly glitch the visuals in a variety of unique ways.. all in real-time. Just take a look at the videos below. This mode is good for veejays, performance artists or art installations.

VIDEO SYNTH MODE:

Without sound you can use the control box to hone in on a variety of glitch effects and looks not possible in sound visualization mode. The majority of effects are unique to the ave5's fx circuit and difficult to emulate or simulate with other video synths (LZX etc). This mode is good for post production, experimental film & masking/overlays.

Of course both modes can be combined. In fact it is encouraged.

The original physical condition of this unit is a 7.5/10. It has some light surface scratches, very faint.

This device is perfect for:
Adding a unique look to your indie tv/film/event production.
Providing you with a variety of effects you can't get with After Effects.
Live professional VJ work .
Making dubstep or chillwave music videos (ha!).
Lo-fi enthusiasts.
Inducing epilepsy.

This device was made to last. Although a device of this nature is fragile by design I have gone through great lengths to ensure that this device stands the test of time. It has been tightly assembled, designed with thought and built with solid parts.

Note: You really have to crank incoming audio to see visualizations. Just the nature of the beast. You will need a mixer with a good heaphones out or aux out to drive this beast. I use a Behringer XENYX for live use and a Mack 1402 with it at home.

Note: Unlike most circuit bent video devices this device does NOT need a TBC because it has one built in."

Circuit bent WJ-Ave5 Switchable Edition (BPMC)

YouTube Published on Apr 8, 2012 by TokenRecluse

"By Big Pauper. (http://circuitbentvideo.com) (http://folktek.com)
Music: DMX - Unstoppable Force (from the unreleased demo)

I managed to cram all of the glitch controls for the Ave5 in it's very spatially limited housing for a couple of these "switchable editions." While dope and very handy
I don't think I'll be doing that again, it's a real pain in the ass.

http://www.circuitbentvideo.com/portfolio-item/modified-wj-ave5-switchable-ed...

The demo in this video is a little rough, I was a bit hung over, so I apologize for not showing off more variety."

Circuit bent WJ-ave5 generated noise. (BPMC)

Published on Apr 8, 2012 by TokenRecluse

Complex modified WJ-ave3 & WJ-ave5 patch (BPMC)

Published on Apr 8, 2012 by TokenRecluse

New Future Retro Transient Plus Eurorack Module

"New features include the ability to load up to 16MB of user samples, store up to 256 Instruments on the microSD card, each sample voice now has adjustable pitch, the filter frequency can be modulated by either of the modulation oscillators, a new sequential mod source for the sample waveform selection, plus updated display menu, screen saver, and a few other goodies."

Note there is an upgrade path for owners of the original Transient.

Additional details on the Transient Plus via Future Retro:

"The Transient Plus is a sample-based percussion module for the Eurorack format. The Transient Plus can recreate individual drum voices or sound like an entire drum machine or loop is playing, morphing from rhythm to rhythm, or at times sound more like a synthesizer when retriggering samples at audio rates, and creating other special effects. It's easy to use, introduces new ways to quickly sculpt your beats with endless possibilities, and... it sounds great!

Up to 256 User Instruments can be stored and loaded from the microSD card, and the Transient Plus will come loaded with the Original factory Instruments to get you going right out of the box, and to help you learn how to achieve certain results. Instruments can now be named, as well as backed up to a computer.

Up to 600 individual User samples (16 MB max total) can be loaded into the Transient Plus using the microSD card. Over 400 audio sample come preinstalled with the Original factory sound set. These samples focus on classic drum machines and modern analog percussive sounds. There are two voices to play these samples, and sample selection for each voice can be modulated with things like knobs, CV's, or random values. While internal processing of these sounds is all 16 bit resolution, a 12 bit DAC is used to add more vintage character. Additional factory sound sets can also be purchased and installed in your Transient Plus, or users are free to create their own custom sound sets.

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TRAX RetroWave R-1...modulated by Ants!

Published on Jul 9, 2017 Nice and Synths

"This is a video! All audio comes from the RetroWave, which was recorded direct into a Focusrite Scarlett 18i6. Ants! is just used for modulating stuff. Mostly at audio rates. Whee. This video in no way show all the sounds possible with the RetroWave, but it does contain sound, which is important for a synthesizer demo.

0:00 - Ants! provides various audio-rate modulation of the RetroWave's VCF. Arpeggiator pattern from Casio XW-P1 controls the R-1 via MIDI, velocity modulates filter cutoff.

2:02 - Slight low frequency pulse width modulation from Ants!, changing to audio-rate PWM.

2:42 - Various modulations of the VCO as well as complex triggering of the RetroWave's envelope.

3:30 - Back to the audio rate PWM, but now with VCO and VCF modulation as well. A suboscillator and noise are added, as well as the RetroWave's overdrive.

3:59 - Ants! is used to modulate the VCO, both low frequency and audio-rate. After a while of that kind of crap, I cut to where filter resonance was added and I turned on the RetroWave's overdrive. In addition, I move my arm around aimlessly.

The TRAX RetroWave R-1 is a single oscillator analog synthesizer with a heap of knobs. Despite having just one oscillator, the RetroWave has some interesting features, like two square wave suboscillators (-1 and -2 octaves,) two LFOs with variable waveshapes and the ability to go into audio range (if I remember right they max out at around 170 Hz) and a dirty fuzzy sounding overdrive. On this last point, I should note that I have the original RetroWave, I think the current model has a "softer" distortion. I have no idea what it sounds like.

The RetroWave also has inputs for external CV control of the VCO, PWM, VCF, and VCA. This allows a device like Ants! to modulate the crap out of stuff, the only caveats are the inputs are on 1/4 inch jacks (1/8 to 1/4 inch cables to the rescue), and there are no attenuators.

The TRAX RetroWave R-1 has a very long name and is also a nice sounding synth. It has a fuzzy vintagey sound, and while the LFOs can go into audio range a little bit, using another device to get full audio rate modulation really shows the depth of sounds possible from the R-1. Not that this video shows that, it's kind of lame. But in the hands of someone with a clue it could really sound good.

Finally, I can't decide if it is TRAX or Trax. On the website (www.traxcontrols.com/retrwoave) it is written Trax, but on the instrument itself it is TRAX. I thought TRAX looked better so I went with that. :)"

RNA 2CPO INTRODUCTION

Published on Jul 27, 2018 Really Nice Audio

"The 2CPO audio to trigger convertor is a slim and simple way to control your modular from a spare of outputs on your sound card.
It works great with a pair of hardware sampler outputs enabling easy syncing of modular to sampler sequencer.

In this demo we connect the outputs from a sound card into the 2CPO. The outputs from the 2CPO are connected to the CLOCK and RESET inputs of a Music From Outer Space 16 step sequencer.

With slight modification the 2CPO can also be used with phones etc enabling sync over wifi with app like Ableton Live."

"This 2CPO module is a 2 channel audio to trigger convertor. It can enable 'audio engine locked' sync of hardware sequencers as well as many other duties.

OPTIONS:
The REGULAR option is suitable for Balanced to Unbalanced connections. This has RED LED's.
The PHONE option has a higher gain setting suited to mobile phone output levels (for use with Ableton Sync etc.) This has YELLOW LED's

Come with Power Cable, Screws and Washers"

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Gotharman's deMoon synthesizer

via this auction

"Gotharman made a very short run of this black model. It is in perfect condition and has barely been used. This is the 24-Bit version. This is the last of the production runs of deMoons and therefore is very rare. Insured UPS Ground shipping to lower 48 states, but will consider overseas buyers (Please message me if outside the USA). See details below

DETAILS:
GotharMusic proudly presents deMOON 24bit. It now sounds better, has more possibilities, and are easier to operate.

-New 24 bit ultra low noise/hi gain output stage.
-2 new filtertypes - A sharp bandpass filter and an add filter.
-Envelope follower with "smooth" parameter added to the external audio input. It can control the audio output level and modulate all parameters in the filtersection.
-Envelope scaling improved - We listened to the critisism.
-Now deMOON writes parameter name and value in display, when it receives valid MIDI controllers - We listened to our customers.
-New soundbank - YES!!!!!!

MAIN FEATURES:

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M-Audio Venom Review and Interview with Product Manager Taiho Yamada

A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

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Modular Polyphony

Published on May 9, 2013 pjoris2·26 videos

"I got a Vermona Quad Midi Interface and had already 3 RS-95 VCOs -- so I bought a fourth one to have a try at modular polyphony. Luckily, I had a few quad modules: the Doepfer A-143-1 (Quad) Complex Envelope Generator/LFO which contains 4 AR envelopes, the Doepfer A-138m Matrix Mixer and 4ms CVA Matrix, and finally a QMMG which contains 4 identical low/hi pass gates. Some sound impressions in the video. Don't mind the duff notes and unstructured improvisations here and there, and the VCO tracking which is not the same for all 4 RS-95s. But then, the last is part of the charms of analogue modular polyphony. The 4 channels of the QMMG are also not really identical anyway.

I like the sound of it ! The QMMG is a bit rough at times with high resonance, and I would prefer 4 ADSR envelopes (an A-143-2 maybe). And of course 4 note polyphony is not really impressive, but it will give me some nice pads out of the modular.

The final patch was:

Midi-keyboard to Vermona Quad Midi Interface

Gate Out to Doepfer A-143-1 (Quad) Complex Envelope Generator/LFO to Doepfer A-138m Matrix Mixer (to be able to determine the amount of envelope on the low-pass gates) to Make Noise QMMG CV (Frequency) Inputs

1 V/Oct Out to 4x Analogue Systems RS-95 VCO to Saw or Pulse Out to QMMG Audio Inputs to 4ms CVA Matrix (to avoid overloading the Azimuth and to do the placement of the 4 voices in the stereo field; I didn't seem to put much in the centre of the stereofield however) to Intellijel Azimuth II (these last two not really needed, I could just as wel have fed the 4 channels into the mixing desk directly)

Some LFOs to the Pulse Width CV inputs of the RS-95s. The RS-95 are really nice sounding VCOs by the way. No effects, and still sounding nice and full - the polyphonic modular does not sound bad at all imho ..."

BugBrand Modular 1Frame System with External Joystick Controller

via this auction

"Finally! After 5 years in the dark dungeon that has been the BugBrand Workshop I have just moved to a better place! Over that time I have picked up quite a stack of bits'n'pieces and it is really time to have a serious clear-out -> to clear space, to pass on unused items and to generate some funds for setting up the new workshop.

BugBrand Modular - 1Frame System with external controller
This is quite special! A complete BugBrand Modular setup in a desktop enclosure, made up of a good selection of modules which are mainly early/prototype ones but brought fully up to current spec. For more details on the BugBrand Modular and the different modules do have a check of the BugBrand Modular website, but I will give an overview of everything here. As you may be aware, I've been making the BugBrand Modular Systems available over the last two years, but because I'm only a small setup I've restricted myself to working with only a handful of people. Usually I build up systems with people over a number of months, but here is a chance to get a full compact system with a unique controller!

The Modules:

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Loose Lips Machine Nuggets :: Lazenbleep Live

Published on Mar 2, 2017 lazenbleep

"A look at my live setup for Loose Lips"

Sonicpotions LXR
Teenage Engineering OP1
Mutable Instruments Anushri
OTO BIM

Update: some info on what's going on via lazenbleep:

"I'm George Lazenbleep Hacker, artist and musician based in London. I've been on a mission to make the music I want to hear when I'm drunk and I'm edging closer. I've spent a long time hacking and modifying gear just for the sheer hell of it. Now I'm entirely focused on finding the best gear, through whatever means, to make sweet banging music.

Here’s a look at the equipment used in my current live setup; these are random musings about my favourite gear, and their coolest features. Please follow the links for more info.

Sonicpotions LXR

This is a digital drum synthesiser, available in kit form from a really cool German company. At its heart the LXR is a six voice synthesiser and seven track sequencer. The sound generation is really deep, with four types of drum engine. In theory, these are geared towards kick, toms, snare, clap and cymbals, but in reality the fun is to go much heavier and weirder. You can make some monumentally heavy, sharp kicks with a triangle wave, pitch mod, a transient, drive and sample rate reduction. I like to layer snares and claps together as they both benefit from their own multi-mode filter. There’s also a lot of modulation available both within and inter track, with both control signals and audio available as modulation sources. The main point to make here is that the sound can be both heavy and wild, perfect for electronic music.

A nice modern digital feature is the ability to morph between voice presets with one knob, creating some totally wild in between sounds. The sequencer is both straightforward and deep, with what I consider the essential features for a drum machine; step probability, individual track length (polyrhythms!), two tracks of automation per voice and per step (think Elektrons parameter locks), micro timing (sub steps), voice rolls and shuffle.
The BC third party OS adds user assignable macro knobs, one shot LFO’s, instant pattern switching, per voice pattern switching, and a really cool “segmented” looper. It’s crazy that something so complex is good to use live, but it really is rock solid and a lot of fun on stage.

Teenage Engineering OP1

A synth that famously divides opinions, with many dismissing it as an expensive toy (which it is). The OP1 is also an incredibly deep, left-field machine with unique workflow and sounds. I very much underuse it in my setup; it acts as a midi controller and chord machine, and it's tiny and light, perfect for touring. Ten different synth engines can be used, and they’re all great. One of the major features is simplification, with each engine having up to eight controls and a fun graphical interface.

This ethos is spread throughout the synth and encourages experimentation, you get to unlearn what you think you know and relearn some great eye-ear combinations, via the gorgeous OLED and simple cartoony graphics. There’s a freely assignable LFO per synth, including wacky generators like the radio, mic or gyroscope. It has eight voice effects to choose from, and one master FX slot. The sequencers range from useful to mad, and really encourage experimentation, with drums and synths, they’re all syncable, or not.
Using a four track-style tape as the recorder is both brave and wonderful. There’s a joyful instant vibe to making music, and there’s no undo. Segments of tape can be lifted and dropped into a synth sampler, or sliced in a drum sampler for an instant chop. Talking of the drum sampler, the onboard radio can be recorded and instantly dropped into the sampler, mapping equal segments across the keys. Combine this with a sequencer and it’s very easy to make dance music, which is exactly how dance music should be.

TE are absolute masters of taste, form and function, and i knew i wanted this even before i heard it. It’s impossibly cute, yet sturdy and actually looks exciting, something that’s really important. The screen graphics are really cool, and everything is colour coded to the four encoders, letting you fly before you really know what’s what.

Mutable Instruments Anushri

Before Mutable cornered the modular market, but after they nailed PDA music, Olivier made desktop synths as kits. I’ve owned them all, kept my Shruthi, and am now making sweet arp love with the Anushri. An actual analogue monosynth, like an SH-101, but better, and weirder! It actually has a semi-generative digital drum machine built in, but I don’t use that—for me it’s all about the arps!

Arpeggiators are cheesy, and they’re cheating, and they are completely, 100% dance music. A kick and an arp, what else do you need? The sound is glorious, heavy and weird thanks to FM, oscillator sync, the LFO and DCO. It’s also lovely to play a synth designed by someone who plays synths. A great example of this is the knob that sweeps the envelope between a gate and ADSR. Assign the envelope to your filter, start the arp and say goodbye to the next two hours. There’s also another knob called “Acidity” which adds random accents, mutes and slides to your arp; I have a tendency to leave it at ten.

OTO BIM

OTO machines made the Biscuit, arguably the greatest ever bitcrusher. The BIM is a 12-bit digital delay, taking its lead from 80s hardware effects units. The sound is interesting and musical, creatively using the lo-fi nature of 12-bit converters to subtly degrade the signal, and pairing it with analogue technology to smooth it out.

That's not why I bought it though. It's a really fun box to play. It has a concept I call “high wangability”, which means you can really go crazy with it from the front panel. It has a really weird sixteen dot display, that once learned, provides just enough info. There's an LFO that can be used wildly or sparingly, and a freeze function that grabs a bit of the delayed signal and repeats it indefinitely. The BIM has character in both sound and form, and is a friendly little chap in my flightcase."

Parallella: A Supercomputer For Everyone on Kickstarter

http://www.kickstarter.com/projects/adapteva/parallella-a-supercomputer-for-everyone
If the Kickstarter video causes your mouse to disappear, click off screen and it should come back.

Note the video and project is not directly focused on synthesis, however the application (like the iPad as a synthesis platform) should be obvious. The following is a write-up on that potential in via reader cheater:

"I'm in no way affiliated with those guys, but this thing opens so many possibilities for the synthesis aficionado that I have to let you know what's in store. Why is this cool? Simply put, it's a Kickstarter for an open platform which could enable synthesis methods that are currently not possible, unless you lug around an expensive workstation, and put them in a desktop-module style case. For those intents and purposes it's a self-contained system with a 45 GHz CPU, the size of a DVD box.

Below are some examples of synthesis methods that could work out thanks to the radically different way this thing works. Each of those is slow on current PCs and because of the parallel nature of the chip in question are tons faster to execute on it:

1. granular synthesis. Ever try to run one of those in VST? They sound better the more parts you can have. Current PCs can only run so many parts, and you need thousands per voice. This thing could easily run a polyphonic synthesizer.

Here are some demos of what you can do with a granular synthesizer:
https://www.youtube.com/watch?v=jgcVr6lTzDs
http://www2.camelaudio.com/music/AlchemyAnalysisDemo02.mp3
http://www2.camelaudio.com/music/Alchemy-PresetDemo-JohnLehmkuhl.mp3
https://www.youtube.com/watch?v=hTODhn-UROc

See how Alchemy only allows 10 grains per voice? You could have an order of magnitude more, with each grain bank (Alchemy has 10) modulated separately.

More:

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