DFAM as Rhythm/Bass Unit (plus Matrixbrute)

Published on Jun 13, 2018 Kris Lennox

"Nice wee patch on the DFAM. Hearing it back, I realised it sounded better beginning on beat 5, so be aware when watching the vid that beat 5 is actually beat 1. Yes yes, I could have reprogrammed the beats, but it was sitting nice where it was at :)

Bass tuned to E.

I decided to add a little bit of synth to the mix. And fancied playing, given the DFAM is doing all the work! I added a few short patterns (3 sections in total, with the tonality primarily major, minor, lydian).

i.e. all based around E, given the bass tone (not always exclusively 'E major', though).

I'll put the Moog-only part up on soundcloud for reference. Also good fun for jamming along with :) Good for practising chops. The upper B coming through at c.2:54 sounds great.

RE post: a little reverb added to the MB, nothing else. Moog = as-is i.e. 'straight out the box'.

Yip - I went to pull the patch cable out at about halfway through and it wouldn't budge! It was a case of waiting for the next sequence start. Good cables though. They can take the abuse (I got them on ebay from 'Scapesound').

I've intentionally colour-coded the patch i.e. for all in-situ cables I used red, with the active cable being yellow. Less chance this way of me being a stupid bugger and pulling out the wrong cable!

Given this is a live, unedited performance, you'll hear occasional 'pops' when the cables make contact. I don't mind it - this recording is just a demo anyway. Plus the pops add to the authenticity i.e. you can tell there's a guy yanking cables!!

Best
Kris"

New Version of Grid Music for iOS

Published on Mar 15, 2018 Grid Music

"Jamming with Grid Music and the Make Noise 0-Coast over MIDI.

All sounds recorded directly from the 0-Coast with compression applied in Final Cut.

Grid Music is sending MIDI note and control change messages to the 0-Coast. The values of active modulation cells (pink diamonds) are being sent as MIDI CC 1.

0-Coast's MIDI B CV is set to "Mod Wheel" so that CC 1 is interpreted as CV. MIDI B gate is set to "Mod Wheel greater than 50%" so that when CC 1 rises over 50%, a gate is triggered."

The original version of Grid Music was released back in 2011.

Grid Music - Michael Daines

"Grid Music is a 2-dimensional MIDI step sequencer. It can be used to compose classic 16-step patterns, but can also create loops, random branches, and polyrhythm. Its 5×5 grid allows for countless arrangements of melody and timbre while keeping the entire composition visible and easy to understand. Pitch and rhythm can be directly manipulated by touch, and the structure of a pattern can be altered in just a few taps.

• Send MIDI notes and control change messages to compatible synthesizer apps. If you have a compatible MIDI interface and the Lightning to USB Camera Adapter, Grid Music can control an external MIDI synthesizer.

• Easy to use built-in synthesizer featuring envelope settings, PWM, and vibrato.

• Randomize button for quickly exploring new melodies.

• Pitch quantization ensures that notes are always in key and makes it simple to create chord progressions. Includes several scale and chord options.

• Multiple levels of undo while editing patterns.

• Perform songs with perfect timing using synchronized pattern queueing.

• Support for Ableton Link allows Grid Music to play in time with other apps and devices.

• Support for the iOS Files app makes it easy to organize your compositions and access them from multiple devices."

TEMPI Science

Published on Feb 21, 2018 MAKEN0ISE

1. TEMPI Science: Triggers & Gates Pt. 1: Creative Gate Destinations

"Don't forget, gates can be patched to CV Inputs! Rhythmically switch between parameter settings as determined by panel control and attenuator. Add rhythm to drones and liven up sequences."

2. TEMPI Science Pt. 2: Gates and Momentary Inputs

"For 'toggled' inputs, gates or triggers are equally well-suited, but for momentary inputs such as the Echophon's FREEZE or MATHS' CYCLE, you will want to use gates that stay high for as long as you want that input to be active."

Behringer to Re-introduce an EMS SYNTHI and More, Much More

The list:

WASP DELUXE
ARP 2600
Octave CAT
SYNTHI VCS3
Roland SH-101 (3 colors)
KORG MS20

Details on each (no new pics in yet, but you might remember the MS-101 here):

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Analogue Solutions Fusebox Pre-Orders Open

See the banners on the right for availability at your favorite shops!

And the official press release:

"AS accepts preorders for Fusebox analogue — as in really analogue — monosynth with advanced abilities

KINGSWINFORD, UK: with the first batch having effectively sold out in advance, British boutique electronic instruments innovator Analogue Solutions is proud to announce that it is accepting second batch preorders for Fusebox — an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesizer that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities (in a beautifully-built box)... before plugging in any MIDI (Musical Instrument Digital Interface) cables, even — as of October 6…

As implied by the REAL ANALOGUE VOICE & MODULATION CIRCUITS ‘caption’ boldly blazoned across a brightly-coloured orange panel fronting a no- compromise steel/aluminium-constructed casing (with no plastic mouldings) that’s sure to stand out from (the sound) of the crowd — to partially paraphrase the early-Eighties British breakthrough hit from synth-pop pioneers The Human League (who have a soft spot for Analogue Solutions synthesizers themselves), Fusebox is a true analogue monophonic synthesizer in a smart, small package. Analogue as in really analogue. Aside from the MIDI-to-CV circuit, which, by its very nature, must include a digital element, everything else is absolutely analogue. For Fusebox trades on real transistors and op-amps — no CPU (Central Processing Unit) stabilised and quantised circuits, no DCOs (Digitally-Controlled Oscillators), and no digital EGs (Envelope Generators), as are often found on other so-called analogue synthesizers. Since the circuitry is based on designs dating back to the mid- Seventies, Fusebox proudly possesses a truly vintage sound. The kind of sound that the likes of The Human League made their own and continue to trade on to this day during an analogue renaissance that’s still showing no signs of abating anytime soon.

So, as an aptly-named true analogue monophonic synthesizer, Fusebox wears its colours well. With three VCOs beating at its musical heart, here is a precision electronic musical instrument that combines must-have electronic circuitry to create a powerful synthesizer statement seriously housed in an eye-catching, compact box. But this is to be expected given its industry pedigree, perhaps. After all, Fusebox was designed by Analogue Solutions founder Tom Carpenter. As a fervent fan of electronic music and also an active electronic musician himself, he naturally knows a thing or two about programming synthesizers. So his latest and greatest creation clearly wasn’t the result of engineering design decisions alone — nor driven by a steering committee of men (or woman) in suits. So what’s inside this beautifully-built box of subtractive synthesis tricks, then?

Those three VCOs, for starters — sawtooth and square waveforms available to each and all. And all have CV (Control Voltage) inputs for PITCH and PWM (Pulse Width Modulation) alongside manual PW (Pulse Width) controls. Creatively speaking, though, there are some striking variations: VCO 1 has OCT (octave) and XMOD (cross modulation) FROM VCO2 switches; VCO 2 has a WIDE TUNE (range) switch — allowing a wide tuning range (right down into low frequency territory) — alongside an oscillator SYNC FROM VCO 1 switch; VCO 3 also has a WIDE TUNE switch, together with a MIDI PITCH switch control — can be disabled to make this a free-running oscillator, ideal for modulation. Meanwhile, VCO 2 and VCO 3 can both be pressed into service as LFOs (Low Frequency Oscillators) — as implied by their respective VCO / VCLFO ‘lettering’.

Leaving that OSCILLATORS section behind... well, almost, and moving, momentarily, into MIXING (with MUTE switches and additional audio inputs), here Fusebox features white NOISE and a SUB oscillator (taken from VCO 3). Thereafter, the all-important FILTERS section is centred around a 12dB MULTIMODE VCF (Voltage-Controlled Filter) featuring LP (Low Pass), HP (High Pass), BP (Band Pass), and NOTCH filters. Flexibility further abounds at the AMPLIFIER section with a VCA (Voltage-Controlled Amplifier) allowing for EG and THRU (bypass) switching; an advanced MODULATION section with a FADE IN (delay)-featured LFO; and an ENVELOPES section with two trigger option-friendly envelope generators (EG1 and EG2).

Elsewhere, the INTERVAL GENERATOR is a special type of pitch transposer that allows users to set six different pitches to each of the switches, then transpose the VCOs manually to create performances — perfect when used in conjunction with the ARPEGGIATOR and/or PATTERNATOR.

The ARPEGGIATOR allows an external MIDI keyboard to be used to program in the notes to be arpeggiated and will also transmit the notes to the Fusebox’s MIDI O (output). On top of that, the ARPEGGIATOR can also be used as a simple 16-step sequencer.
The PATTERNATOR is a unique type of sequencer/rhythm generator. Its four CV controls can be used to create melodic loops that can be changed in realtime using the RESET and SKIP switches. The eight-step gate/trigger pattern generator can be altered using the two BEAT knobs.

Needless to say, all Fusebox’s circuits have extensive minijack input and output sockets, so it can be cross-patched within itself to create an almost infinite range of sounds. Or it can be cross-patched with other synthesizers and modular systems for further flexibility. Fusebox is partially pre-patched in itself, but almost all of those patches can be cancelled using various switches and controls. Indeed, it has such a wide range of modulation routing possibilities that it is almost as versatile as a full modular system so can produce the same types of sounds — and all without patch cable clutter and confusion!

Complex or as simple as the end user wants it to be, as a monophonic analogue synthesizer, Fusebox can be used for analogue sound effects, fat basses, screaming leads, bleeps, blurps, zaps, and all manner of other crazy sounds associated with subtractive synthesis. Since Fusebox features an audio input socket, it is possible to feed external sounds through the onboard analogue filters for analogue processing purposes. It even has real ‘analogue’ hardwood sides — sustainably sourced, of course! Clearly, Fusebox is analogue — as in really analogue — through and through, then.


The UK price for Fusebox is £1,140.00 GBP (excluding VAT), available from UK dealers and Analogue Solutions directly. (Dealers will start seeing stock arrive as of October 2017: http://analoguesolutions.com/global-distribution/)

North American availability of Fusebox is being handled via Voltage & Company (http://www.vcousa.com) — full-service reps of high-quality manufacturers from around the world — with a retail price of $1,599.00 USD, while (most) EU distribution is being handled by Sonic Sales (http://www.sonic-sales.de) — one of the largest full-service MI (Musical Instrument) distribution companies in Europe — priced at €1,519.00 EUR (including VAT)."

Upcoming Event: Cables of Love - A Live Modular Party

This is in via Todd Barton.

Full details via https://www.residentadvisor.net...

"This is a 100% modular synthesizer party.
All live sets.

Cables of Love

From subtle minimal and classic Techno, House & Acid, roaring noise and gently massaging subs to laser light shows & live visual projections of sound, Cables Of Love with the Humboldthain bring together a diverse range of local, pan-European and international talent for an extravaganza of ear-pleasing and booty shaking pleasure.

2 Stagess: 1 for Techno / House / Acid Party Dancing, 1 for Experimental, lots of live acts with their various Modular and DIY Synths.

Further additions to the Line Up TBA in due time but for now, here's some of the acts and their bios can be found below:

Laser Bros (AT/CZ)
Laser Bros creates a synesthetic experience of beauty by connecting 2D-laser projections and body shaking electric sound waves generated in real time by an analog modular synthesizer. Changing the visual will modify the audible and vice versa.
Laser Bros is a collaboration of Bernhard Rasinger (a.k.a. BR Laser) and Václav Peloušek (a synthesizer inventor at Bastl Instruments).

http://www.br-laser.com/

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Modular Patch/Performances by Mike Thomas

Published on May 14, 2017 Mike Thomas

Notes for each further below.

Playlist:
Modular Jam : Lords of the West : Rings, Elements, Clouds, Peaks
Modular Melody: Church of Meta Q - Tides (Parasite), Function, Clouds
Modular Jam: SynthTech E350/E355/E440, Mutable Instruments Elements/Clouds, Pittsburgh SV-1/KB-1
Modular Patch/Performance: Slow to Go
Modular Patch/Performance:- The Big Build
Modular Patch/Performance: Sargasso
Modular Patch/Performance: Fair Winds
Modular Patch/Performance - Over the Clouds
Modular Patch/Performance: March of the Shift Register
Modular Etude #1

Notes:

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Open Source: Music Hardware Synthesizer (Supplyframe Original Series)

Published on Sep 6, 2016 Supplyframe

Tim Trzepacz is the man behind SoftEgg & Rhythm Core Alpha. He also developed a modular keyboard design as you can see below.

"(S1 / E4) Supplyframe DesignLab opened its doors this July to four creative resident teams building hardware projects in Art, Design, Technology, and Science. The new series 'Open Source' follows DesignLab residents step by step in their creations. Episode 4 explores resident Tim Trzepacz and the creation of his music hardware synthesizer the NanoEgg. After successfully launching a software synth developed for the Nintendo, Tim has begun the journey creating a fully analog hardware synthesizers.

http://supplyframe.com
http://supplyframe.com/designlab"

via 3dprint.com

"'I also do crafty stuff like display stands for my product and portable stages and such,' Trzepacz says. 'I love performing, and will play music anywhere. I’m really active in the greater Los Angeles chiptune scene, and for that, I need to make interfaces to do stuff on Arduino and Propeller boards.'

Now with this multi-part design for a synthesizer controller keyboard, Trzepacz says he wanted to create a modular design which would allow designers to 3D print as many sections as they need."

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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Future Retro Introduces the 512 Touch Keyboard Playing the Arp 2600 & Buchla Music Easel

Future Retro 512 Touch Keyboard Playing the Arp 2600

Published on Jun 2, 2016 FutureRetroSynths

"Simple test to show the Future Retro 512 keyboard controlling the Arp 2600 modular synthesizer."

Update: New video with the Buchla Music Easel added:

Future Retro 512 touch keyboard playing Buchla Music Easel:

Published on Jun 2, 2016

"Simple demo of the Future Retro 512 keyboard controlling the Buchla Easel. The 512 has an adjustable CV output so you can achieve .469V to 1.34V per octave control voltages to control a wide variety of synths including the common 1V/Oct synthesizers, and this 1.2V/Oct Buchla. Works with EML and EMS synthesizers too!"

New demos here: Future Retro 512 touch keyboard plays the EMS Putney, Minimoog Model D, EML 101, & Eurorack

Previous posts featured the assembly of the new 512 Touch Keyboard from Future Retro. We now have details and what it looks like completed.

Details via Future Retro

"The 512 is a capacitive touch keyboard, packed with a unique blend of truly musical features to enhance your creative experience. The 512 is available with or without the optional rack ears that allow it to fit in a standard 19" rack enclosure, taking up only 4u spaces.

Why is capacitive touch better? Quite simply, eliminating mechanical moving parts found in traditional keyboards makes a product that will never wear out, as mechanical keyboards do. No more intermittent key contacts, or failed aftertouch circuits to worry about! In addition, capacitive touch provides a much faster response time for playing notes, and allows multiple forms of expression to be executed by the performer.

There are five main functions of the 512. It can act as a keyboard, arpeggiator, sequencer, MIDI to CV converter, and MIDI to MIDI converter. The 512 can control both MIDI and CV/Gate synthesizers simultaneously. Pitch, Pitch Bend, Mod Wheel, Gate, Velocity, Aftertouch, and Clock are all available in both their MIDI and CV form. CV's follow the 1V/Oct standard with positive polarity Gate signals, allowing the 512 to control the majority of analog synthesizers both past and present.

KEYBOARD
The 512 provides 9 octave ranges for the 29 full-sized keys (although shorter in length than typical keys) with response to Velocity and Aftertouch. Users can define one of five different Velocity and Aftertouch curves to apply to the keyboard, and dial in the range for each curve to customize the response. The Pitch Bend provides positive and negative pitch bends, and the bend range can be adjusted for full or half range. Mod Wheel is also provided as a modulation source.

ARPEGGIATOR

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MATRIXSYNTH Review and Overview of the Novation Circuit

Update: Not covered in this review, sample support has been added in the latest Circuit Components update.

The following is my overview and review of the $329 Novation Circuit.

Introduction

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Meet the New KORG volca fm - DIGITAL FM SYNTHESIZER

Published on Mar 9, 2016

We saw it at NAMM 2016. We now have official details and demos from KORG.

"A polyphonic digital synthesizer that completely reproduces a classic FM sound engine.

The volca fm is a three-voice digital FM synthesizer that completely reproduces the sound engine of a classic FM synthesizer, and provides compatibility with it as well. The unique volca interface makes it easy to manipulate distinctive FM sounds even if you're not familiar with the complexities of FM synthesis. The 16-step sequencer that's one of volca's features provides new functions such as WARP ACTIVE STEP and PATTERN CHAIN that let you make even more powerful rhythm patterns."

via KORG

"A polyphonic digital synthesizer that completely reproduces a classic FM sound engine
The volca series has shed new light on classic technologies by linking classic sound engines such as the groove machines and early samplers of the past with the dance music of today. Now it's time for the series to gain an FM sound engine.

The volca fm is a three-voice digital FM synthesizer that completely reproduces the sound engine of a classic FM synthesizer, and provides compatibility with it as well. The unique volca interface makes it easy to manipulate distinctive FM sounds even if you're not familiar with the complexities of FM synthesis. The 16-step sequencer that's one of volca's features provides new functions such as WARP ACTIVE STEP and PATTERN CHAIN that let you make even more powerful rhythm patterns."

The FM engine has 6 operators, with 32 algorithms like the original Yamaha DX-7. The vocla fm is able to convert and load SYS-EX/SYX files created on the Yamaha DX7.

Strymon Enters the Eurorack Market with the Generalissimo Four Head dTape Echo

NAMM 2016: Strymon Generalissimo Eurorack Delay!

Published on Jan 21, 2016 sonicstate

"The first euroack module from this revered pedal company."

NAMM2016 Introducing the New Strymon Generalissimo Eurorack

Published on Jan 22, 2016
"NAMM2016 Introducing the New Strymon Generalissimo Eurorack

Available soon from
http://www.analoguezone.com/"



NAMM floor pic via @ctrl_mod

And the official pics & details from Strymon for the archives:

"Five modules in one.

Not only does Generalissimo allow you to create an abundance of warm, gooey, and saturated tape soundscapes, it provides a huge amount of utility and versatility, giving you the functions of five separate modules in one.
Four Head Tape Echo. Sound on Sound Looper. Spring Reverb. Clock Multiplier. Self-Oscillator.

Combining musically inspiring hands-on and voltage-controlled parameters with uncompromising sonic quality, Generalissimo will launch your modular performances into uncharted interstellar space. Generalissimo gives you the deep, luscious sounds of our Four Head dTape Echo machine, with extensive control over tape characteristics and machine health.

You also get a truly playable sound-on-sound looper with instant tape splice and loop triggering. With 1-to-1 dedicated hardware controls for all functions, CV control for multiple parameters, plus tape speed control independent of tempo, Generalissimo allows you to incorporate the warm, inviting sounds of tape into your modular rig in limitlessly creative and expressive ways.

Generalissimo provides you with a complete four-head tape echo machine, with detailed tape warmth, character, and artifacts that can be tweaked with a host of dedicated controls. Adjust the health and specs of the machine with Wow & Flutter, Record Level, and Low Cut. Change the quality of the tape with Tape Age and Crinkle. Go from a brand new machine with new tape to a worn out unit overflowing with mangled magnetics. You get individual level controls for each of the four play heads, a master feedback control, and individual feedback tap switches for switching each play head in or out of the feedback circuit.

When you’ve already traveled to the edge of the galaxy in Echo mode, Sound on Sound mode will take you far beyond. In Sound on Sound mode, the fourth head works as the Sound on Sound recording head. While you’re loop recording with the fourth head, you’ve still got an active three-head delay in front of that! With feedback active, this is a living, breathing system with a life of its own. There’s also a Sound on Sound Trigger CV input that seamlessly takes you back to loop start.

Generalissimo’s independent spring reverb allows for reverb-only operation, independent of delay playback levels. The reverb is dripping with character and voiced with inspiration taken from the darker sounds of the spring verbs found in some of the vintage tape echo machines. It pairs perfectly with the tape head echoes to provide an extra dimension of space and sound.

Generalissmo’s four heads are aligned so that the fourth head is the ‘quarter-note’ head, determined by the tapped tempo or clock input. The other heads are spaced at selectable subdivisions from equally-spaced sixteenth notes, triplet rhythm, or uneven spacing. Each head has it’s own CLOCK OUT jack, providing sub-divided clock signals determined by the selected spacing. Send a trigger to align the clock edges, or let them run free.

With the Feedback turned up, Generalissimo will easily self-oscillate, even with no input applied. The Speed knob acts as a pitch control, allowing you to use the Generalissimo as a slightly unpredictable sound source, as the speed, filtering, and frequencies present in the tape oscillation work in harmony to find the most willing harmonic content to keep the party going. Add the Reverb to this madness, and you enter into uncharted sci-fi soundscapes.

Generalissimo’s Speed knob is the fun performance tool, calibrated in a very musical and playable way so that it’s easy to hit octaves when adjusting the pitch. The Tap button sets the delay time, effectively determining the tempo by setting the tape head distance. The Tap control is entirely independent of the Speed setting, and this independence is key to the huge impact Generalissimo will have on your sound and creativity."

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An Interview with Barry Schrader

Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in.  New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process.  If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com.  This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!

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Listen to your heart... Music made with Stethee

Published on Dec 19, 2014 Stethee

"SUPPORT OUR KICKSTARTER: http://kck.st/1wygGSo
In many cultures, music is used to heal and provide therapy. We all have music inside us. The heart is like a beat machine.

The most famous of beat machines is the legendary TR-808 Computer Controlled Rhythm Composer. Watch us use a heartbeat from Stethee to trigger the bass kick of the TR-808.

This is the first in our 3 part series to show the hidden power that lies within Stethee. Be creative. Listen, See and Feel."

Stethee is much more than just a trigger device:



"Smart wireless stethoscope: Lets you easily track & monitor your heart & body sounds at home. Understand & manage your health better!

Health professionals check heart and lung sounds during every visit to a clinic because they are the most important markers of our overall health. Until now, there hasn't been a way to easily monitor and track this information in the comfort of our homes.

Stethee is an elegant and powerful health device that allows us to easily capture and understand these sounds. It can empower us all to lead healthier lives.

Every once in a while, a revolutionary product comes along that changes everything.

Stethee is the first device in the world, that allows you to Listen, See & Feel a heartbeat.

Stethee delivers a deep, rich clarity of sound with active filtering and equalisation direct to your bluetooth paired headset.

In combination these 3 levels of feedback, offers a deeply immersive and personal health experience unlike anything before. It makes it so easy to understand your heart and body sounds..."

https://www.kickstarter.com/projects/834955165/stethee-listen-see-and-feel-a-heartbeat-in-your-ha

Garfield Electronics LOT (2) Doctor Flick & Mini Doc

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

via this auction

"DOCTOR FLICK:

"Clicks are produced in 24 frames per second calibration for American and European film scoring when the VIDEO switch is off. United States models will operate in 30 frames per second calibration for video scoring when the VIDEO switch is activated. European models produce 25 per seconds calibration when the VIDEO switch is on.

Tempo in the selected calibration is set thru the three digit rotary switch assembly which indicates tens of frames, frames and 8ths of frames. Additionally, click rates of 1/16th or 1/32nd frame resolution may be specified by the +1/16 and + 1/32 switches. When either or both of these switches are active, the tempo indicated by the rotary switch assembly is augmented by these frame values.

To sync the internal metronome place all sequencers and drum machines in Play mode. All instruments will commence to play upon the beat which follows the pressing of the DOCTOR FLICK PLAY switch. To stop, press the PLAY switch again.

To synchronize to a click track on tape, activate the SYNC switch, connect the click from tape to PULSE IN, and set DOCTOR FLICK tempo controls to match tempo. PLAY switch will cue in or out on the beat as with internal sync operation, and the START switch will cue in or out immediately.

The metronome is started or stopped with the START switch. Optionally, the metronome can be started by application of a pulse of at least 0.7 Volts to the front or back panel EXT TRIG input.

Click output is available at both front and back panel OUT jacks. Loudness is set by the LEVEL control. Both outputs are low impedance and can drive headphones directly.

Sequencers and drum machines are synchronized thru their Clock or Sync inputs by connection to the appropriate DOCTOR FLICK output.

To create individual triggers from audio, connect audio source to PULSE IN jack. Connect TRIGGER to arpeggiator, gate, or individual drum trigger inputs. Adjust audio input level for compatibility. Plug all the way into the TRIGER jack to obtain rising edge triggers, half way for falling edge triggers.

This device can be switched for AC power sources from 115 to 230 Volts.

The cap of the Level-rotary is missing as well as the LED of the PLAY switch."

MINI DOC:

'The Mini-Doc is an essential tool for your analog studio. It is a tape sync and time-based converter. 'It allows you to synchronize your TR-606 with your CR-78--or clock both to a click track!" This Mini Doc is in good condition. The Instructions are on the top of the unit:

BASIC OPERATING INSTRUCTIONS

Sync 12 24 48 96 64 384 Variable
Roland step programmed Drumulator Linn Oberheim Wave PPG Fairlight Synclavier
Korg sequences MXR Drum Simmons Polysequencer
Memorymoog Emulator

'Connect a device clock output to any one of the Mini Doc inputs. Connect any or all of the Mini Doc outputs to clock inputs on devices. Connect start output to start/stop footswitch inputs for automatic reset. Click output provides a quarter note metronome tick. Connect output of either channel to arpeggiator clock inputs. Select one of eleven rhythmic values with rotary switch. Invert offsets rhythm by half its value, useful for stereo effects. For sync to tape, record a device clock output on a tape track. To use, connect recorded device clock to Mini Doc input. To obtain individual triggers, connect drum track to any input jack. Set channel one rotary switch fully counter clockwise. Adjust drum track level for compatibility. Triggers appear at the channel one output. Connect power cord to any AC outlet of 100 to 250 volts.'"

Synthrotek PT2399 Dev Delay Console Unit

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"The PT2399 Delay Dev Delay is a great way to get started experimenting with the PT2399 Echo Processor IC!

Features:

Get all of our mods pre-installed! The feedback "feedBLAST" mod momentarily injects feedback into the circuit gives you more control over rate, feedback, and mix. The Warp mod adds a tremolo effect. Check out the mods here!
Based off of Princeton's PT2399 Echo Application Circuit (straight off the datasheet), this PCB gives you the exact set-up recommended by the manufacturer. Engineers and hobbyists alike can use this basic design to modify it for their own purposes The PT2399 Echo Processor IC is a very versatile circuit with adjustable input/output filtering, delay length, wet/dry mix, and a lot of unexplored potential!
On-board 5V regulator allows for multiple powering options and interfacing with digital circuits. Use a 9V battery, 9-18V Center Negitive AC Adapter (not included).
2 potentiometer placement positions adhere to the datasheet schematic, allowing for direct control over how much delay is present in the output signal. Delay length is variable from fast slapback echo to long dub-style repeats to noisy long repeat madness! Mix allows you to set the wet/dry portions of the signal.
The PT2399 Echo IC was designed to mimic old-school analog BBD delay with modern digital sampling technology. Repeats degrade at higher delay lengths, resulting is a very natural well-filtered reproduction of your synth/guitar tone.
Enclosure Dimensions: 4.38' x 3.25' x 2'"

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