"Amazing rare japanese drum module with 6 voices of (I’d say “CR-sounding” smooth / tight) analog drums. Eurorack friendly triggers (⅛” input jacks even!). Check YouTube for sound examples. Fully functional, in great shape. Includes power adapter.
Quote from MATRIXSYNTH (posted here): 'Very cool 6 channel Japanese analogue drum synth - controls for Volume, Attack (Snappy for snare) and Pitch (Decay on hats), Input Sensitivity. Capable of some pretty decent drum sounds - especially if you drive it with another drum machine and turn up the Sensitivity - overloads the signal and the source sound can bleed through adding extra dirt and colour.'"
Today I am introducing GODSPEar, my homage to the Oxford OSCar filter in Eurorack format. GODSPEar is the only filter used in these audio recordings. Detailed explanation of the module and patch examples will be in a forthcoming Demo #2. Audio recorded direct to Tascam DR-05, some additional compression and normalization used in the making of this audio.
"As Oscar translates from Celtic to God’s Spear, now GODSPEar is my translation Oxford OSCar Synthesizer filter for the Eurorack format. GODSPEar has a special look and sound that pays special homage to OSCar designer Chris Huggett’s creation. The Oxford OSCar would inherit some of the funky DNA from EDP WASP as it was discontinued at the time. Hailed as Europe’s answer to the Minimoog, sets itself apart from Bob’s hardware with some curious technical wizardry all its own.
The OSCar, and now with my GODSPEar filter were already interesting to start. It is actually TWO FILTERS each w/ 2-Pole cutoff slope. The cutoff frequencies of the two filters can diverge from each other by an adjustable SEPARATION control. The “Q” resonance control behaves as one would expect when no SEPARATION is used. But in BANDPASS mode, with higher Q settings as well as SEPARATION impart vocal formant sounds.
Divorced of any CPU control prowess as it was implemented on the original. GODSPEar filter control has been designed from the ground up to work well w/ the Euro standard. And to meet the stringent requirements that discerning modular synth enthusiasts have come to expect. Yet retains the original core topology, a full analog signal path, NOS NJM13600 OTAs, as well as V/Oct filter tracking. Logic assisted Filter MODE selection button toggle. Two external CV inputs for control of Frequency. And now the additional features of CV control over Q, and yes CV control of Separation.
Beware - CV control over Separation is serious business.These signals were only meant to diverge in one direction. Sending the cutoff frequencies in the other directions yield vanishing Bandpass audio and unintended consequences for Low/HighPass modes. Thus on GODSPEar, I’ve added an active Full Wave Rectifier circuit to govern the Separation CV input as gate-keeper and peace maker. Go ahead and send your bi-polar LFO signals etc. Just know in doing so, any negative voltage components will be flipped over to the positive realm. You’re welcome.
FREQUENCY | the initial Cutoff Frequency of the filter
Q | the depth of the peak frequency resonant feedback.Res will self-oscillate without an input signal present.
Q CV | Modulate the Q Resonance w/ any polar/bi-polar mod signal. This signal is summed against the Initial Q amount knob.
IN 1 & IN 2 | Mix together 2 different audio signals, each w/ their own mix pot.
Freq CV | Modulate the Cutoff Frequency w/ any polar/bi-polar signal. At 12 o’clock, the pot has no modulation. In the Counter-Clockwise direction it can invert the incoming control signal.
KB | Modulate the Cutoff Frequency w/ a V/oct signal or any other polar/bi-polar mod. Self-oscillation resonance will loosely track v/oct when KB is set to 100%, allowing the self-oscillation Q sinewave to be played in a musical fashion.
TYPE | Toggle switch for choosing the filter MODE: Lowpass, Bandpass, Highpass.
SEPARATION | Initial amount that diverges the frequency cutoff spread between the two filters.
SEP CV | Control Voltage Input with attenuator knob for modulating the Initial Separation amount. Input CV Signal is passed through a Full Wave Rectifier so that Separation behaves in a prescribed manner as expected, thereby preserving audio integrity.
OUT | the mono audio output jack.
Spearhead your own analog filter trajectory by racking up something a bit outside the usual fare. GODSPEar is made in limited quantities, not mass produced – so don’t wait and get yours whenever available. Includes a 10-pin to 16-pin Eurorack ribbon connector. Rack screws are not included as it’s presumptuous that one fastener spec suits everybody. Fasteners are possibly available upon request if you let me know your specs I’ll see what I can do. I highly recommend After Later Audio Rack Screws sold separately here on Reverb."
Labyrinth | Moog Demo Library
video uploads by Moog Music
User videos:
Playlist (use the player controls to skip around):
1. Perfect Circuit: Moog Semi-Modular Comparison 2024: Labyrinth, Mother-32, & More (feat. Sarah Belle Reid)
2. Sarah Belle Reid: Moog Labyrinth Semi-Modular Synth: Overview + Explorations
3. Loopop: Moog Labyrinth // A Synth that’s a Generative Idea Machine // 13 patch ideas, review & tutorial
4. mylarmelodies: Moog Labyrinth Demo: Explanation & Generative Techno Jams
5. Reverb: Exploring Generative Synthesis with the Moog Labyrinth
6. Jorb: Moog Labyrinth // Generative Synthesis At It's Best
7. SUTURE SOUND: A ton of Moog Labyrinth sounds (no talking)
8. Bonedo Synthesizers: MOOG Labyrinth Sound Demo (no talking) - Preset Sheets
9. Limbic Bits: MOOG Labyrinth Sound Demo (no talking): 6 Improvisations on the Labyrinth
10. Starsky Carr: Moog Labyrinth // 3 Minute Manual + Full Review & Demo
AN UNEXPECTED PATH FORWARD
Labyrinth introduces a classic West Coast sound into the Mother Ecosystem experience rich analog synthesizer history in both surprising and recognizable sonic textures. Two generative sequencers bring to life sounds that bloom over time, letting you control their evolution and scale, then play them off of each other for striking polymetric melodies.
With parallel analog signal paths, this adventurous instrument shines when adding color to the steady backdrop of a drum pattern or bassline.
GENERATIVE SEQUENCER
The beating heart of Labyrinth is a robust dual sequencer, which uses chance calculations to generate two unique eight-step paths which twist and curve around one another.
SONIC WANDERING
A parallel voice processing path with a voltage-controlled blending allows you to morph sounds over time.
VOLTAGE-CONTROLLED WAVEFOLDER
A fresh interpretation of the Moog sound via a voltage-controlled wavefolder. Two oscillators drive duophonic melodic counterpoints, metallic FM tones, and analog synthetic drums.
Moog's semi-modular lineup expands to include the Labyrinth, a generative synthesizer that brings you two parallel sequencers, two oscillators, and endless possibilities. Based around a core sine VCO and a triangle Mod VCO, these sound sources have independent level controls, as well as a Ring Mod and Noise level control that all feed a saturating mixer that can add a touch or grit. From the mixer, we have the switchable option to go into a voltage controllable wave folder then into a classic Moog filter, the opposite with our filter going into the wave folder, or have both of these run in parallel.
The heart of the Labyrinth is the sequencer section. A dual 8-step sequencer gives you interactive quantized melodies that can affect various parameters, based on the labeled trimmers. These sequencers send out both notes CV and triggers and with a Trig Mix you can get rhythmic interplay that is quite satisfying. Each sequencer has a Length settings and a Bit Shift when adjusts the position of activated steps. The Bit Flip and Corrupt parameters present gives you more randomness and serendipity allowing you to create evolving patterns.
As with all of their semi-modular synths, Moog gives you access to 32 patch point patchbay with 12 outputs and 20 inputs. This gives you the option to self-patch and integrate it into your existing Eurorack ecosystem. Moog's Labyrinth is the perfect expansion to your existing system or a great starting point as an entry to modular synthesis, especially for those who are looking to get expressive rhythmic patterns quickly.
LABYRINTH FEATURES
- Parallel generative analog synthesizer
- Two oscillators, a sine-based and triangle-based
- Switchable wave folder to filter, filter to wave folder, or parallel processing
- Diode-transistor hybrid wavefolder with smooth Fold and Bias control
- Morphable Low pass to Band pass 2-pole filter
- Adjustable decay time for both decay envelopes
- Blend Sequence 1 and Sequence 2 triggers for complex rhythms
- Each sequencers has options to adjust length, per-step adjustments, adjustable randomness (Corrupt), and shifting the pattern on-the-fly
GForce Software and Oberheim proudly unveil the Oberheim OB-1.
It’s incredible that the 1978 hardware Oberheim® OB-1 has remained under the radar for so long. The GForce Oberheim OB-1 broadens the Oberheim sound palette in ways that we believe will see it become a big favourite among techno and electro producers and underground artists, as well as composers for its character and anyone cherishing vintage analogue tones. Its rich, aggressive sound and expansive feature set make it an essential hustler.
The GForce Oberheim OB-1 delivers a sound as full and robust as the legendary Minimoog® yet as aggressive and snarling as the MS-20®. It strikes the perfect balance between these two icons, making it an incredibly versatile tool in any producer’s arsenal.
Whether you’re conjuring deep bass lines or soaring leads or looking for something a little extra special, the Oberheim OB-1 is your ultimate ally in the studio.
Join the rebellion against mundane sounds and bring balance to your music with the timeless strength of the OB-1. Let the OB-1 guide your sonic journey like a true master.
HOW WAS IT AUGMENTED?
The GForce Oberheim OB-1 emulation has been richly enhanced to bring the best of both worlds—vintage charm aligned with modern possibilities. Here are the key enhancements:
Enhanced Signal Path: The OB-1 retains the authentic, rich tones of the original while benefiting from a new waveform alongside waveshape modulation, discreet level for the oscillators, sub and noise, LFO sync & retrig, Envelope looping, discreet key tracking, cross-mod, pan spread and more.
Polyphony up to 16 Voices and Unison: Unlike the monophonic original, we’ve added polyphony and mono unison.
X-Modifier: Unlocks unparalleled creative possibilities by enabling direct modulation of most parameters, transforming your sonic landscape with ease.
High Pass Filter: This addition allows for more precise control over the frequency spectrum, enabling cleaner mixes and more intricate sound design.
Chorus, Delay, and Reverb Effects: Integrated effects expand the sonic palette, allowing for lush, atmospheric, and dynamic soundscapes.
Four Versatile Macros: These provide real-time control over key parameters, enhancing expressive performance and sound customization. Macro4 can be modulated by the sequencer. This can get very creative.
Built-in Arpeggiator and Sequencer: These tools make it easy to create dynamic rhythmic and melodic patterns, adding depth and complexity to your music. The sequencer features individual step length and probability, as well as a track dedicated to sequencing Macro4.
Advanced Patch Browser: Quickly find and customize the perfect sound from a vast preset library, streamlining the creative process.
These enhancements ensure that our Oberheim OB-1 is not just a nostalgic homage but a powerful and versatile musical instrument.
You can find additional details and demos at GForce Software.
"Please support my work on Patreon: https://www.patreon.com/jayhosking A live, semi-improvised synthesizer jam performed entirely on hardware.
I'm on an island taking a bit of time to relax and recharge, and have been spending most of my days doing anything but music: reading, swimming, hiking, and so on. I keep the Novation AFX Station up on the island because it's small and because, well, I have more than one mono synth.
But I think I have to bring this thing home with me. The AFX Station (i.e. the Bass Station II) is just such a remarkable synth, maybe the most underrated synth I can think of. A phenomenal sound with two filters and two drives, it can produce a wider variety of timbres than most mono synths, while also having a fantastic layout for patch design, a pretty unique sequencer/arpeggiator that introduces rhythms, a great portable size, and all the other bells and whistles people love (AFX mode, paraphony, etc.). The only thing I wish it had was a "set sound to panel settings" mode. Otherwise, I am regularly impressed with the AFX Station.
I also brought the Vongon Replay with me because it's quite portable and very immediate in its setup. Yes, I know all its flaws quite well, but a small polysynth that sounds good, has everything I need already on the panel, and has a latchable arpeggiator is quite handy. Once I had a sound on the AFX Station, I played an arp, and the song was basically there.
And for effects on the whole thing, the Empress Zoia came through. I also keep this one on the island because it can be whatever effects I need it to be, and because it's extremely flexible with how you set it up for routing. Here, I've set it to have to mono audio signals coming in, and sending a stereo effected signal out, something that most pedals can't do. Plus, Empress makes great effects, and having their delay and reverb at the same time is awesome.
All in all, a very inspiring setup with great results.
Thanks for listening.
Novation AFX Station - Melody/bass mono synth Vongon Replay - Latched arpeggio with slow attack Empress Zoia - Reverb, delay, and special sauce on both synths
Performed and recorded live to a stereo input, with EQ, compression, and limiting on the master.
"Audio path : Dpvco into mixer and then into Diode Dream Vcf .
The oscillator wave at first it’s saw and later in video becomes square. The sequence is in 303 acid style using a lot of RF modules like VCAs - mixers and vc envelopes for making the 303 accent function. A modified RD6 is used as drum machine."
"5 Pole diode ladder filter with multistage variable out of low pass and band pass
Diode Dream VCF is a 5 Pole diode ladder filter but instead of diodes, the circuit in the filter core section, uses transistors in diode configuration.
The filter has a switch selecting between 5 or 4 STAGES of filtering.
You can access the low pass output via the LP out jack.
There is also a VARIABLE out with a dedicated knob. That knob is a mixer of the different pole outputs that are opposite in phase and in the middle, it gives a band pass [BP] out. When in BP the gain is lower in volume which is completely normal.
VARIABLE mixing knob can be altered from less poles to more poles, more specific, VARIABLE out sends 1 or 2 stages at left side and 4 or 5 stages in the right side. That depends from the position switch of STAGES, so if the switch is in 4 position the VARIABLE out sends 1 (full CCW) and 4 (full CW) stages. If the switch is in 5 position, the VARIABLE out sends 2 (full CCW) and 5 (full CW) stages.
This arrangement also affects the Band Pass slope.
The CV-FM input has a dedicated pot for cv amount that is normaled to the audio input of the filter.
This allows for instant fm tones as the audio input becomes a modulator for the filter frequency.
If there is a jack inserted this connection is broken and you can use this knob as cv amount of an envelope or lfo.
There is one audio INPUT with amount pot and a 2nd CV input jack [CV2].
This CV input can be used as volt per octave input control. When the filter is in full resonance the module can be used as sine wave oscillator with good tuning of 2 octaves.
There is a resonance BOOST switch in order to achieve self oscillation. If the RES knob is fully closed and the BOOST is on, then the filter has still some feedback that would be very useful to emphasise the highs and lessen the low frequencies. When BOOST is off and the RES knob is fully closed and the INPUT level fully open the sound will be a bit oversaturated, so you can try turning down the INPUT level knob at 2-3 o’clock .
The filter has discrete through hole components with low noise transistors that are hand selected one by one with very high hfe values and are also matched in pairs for the buffer differential amplifiers and the input output stages of the ladder. An IC opamp is used for resonance gain compensation.
In the original design when the resonance is turned up the gain of the filter decreases drastically. The filter now has resonance gain compensation and while it still loses some gain when in resonance, the gain difference, is now is acceptable and the sound of the filter is pure and warm without losing the character. The resonance compensation is achieved by increasing the input gain while the resonance opens, so this gives a special character.
Because of the filter design the input signal does not clip instantly but instead it saturates the sound musically and the more you push it the richer the output in harmonics and natural and musical compression.
When the resonance is in self oscillation and the audio input is pushed, the sound gets glassy and squelchy. This filter gets acidic but it maintains the clarity of the high end, yet sounds warm and very rubbery. Detailed bass, creamy mids and crispy smooth highs.
Many different tones are waiting to be discovered by the user dealing in different combinations of the input gain, the resonance, the frequency FREQ knob and the VARIABLE shape of the filter."
"This module contains three individual window comparator circuits. They all work slightly differently from each other and somewhat differently from regular window comparators.
These are particularly useful circuits to create gate/timed events from chaos signals, or any other CV signal. It can also be used for pulse width modulation at audio rates, lots of good sounds to be found.
The rather grandiose names for each comparator came from a paper - Some Special-Purpose Comparator Circuits by H.K Verma. The actual circuits are different but two are inspired by the ones presented in the paper.
1. Special Comparison Instant – this is probably the most normal window comparator of the three. The pots can be used to set the high and low voltages between which the output gate will be high. You can also patch in CV signals to alter the high and low settings.
2. Comp for Concurrent Magnitudes – this will output a gate when the signal on Input 1 is compared against the setting of the SET/In2 pot. If no signal is on In 2 then the pot sets a fixed voltage, otherwise the signal on In 1 is compared with the amplitude of the signal on In 2, which can be attenuated by the pot as desired.
The extra feature of this circuit is the Level pot can set the gate level (up to 10V!) or you can patch a signal into the LEVEL input and create envelopes or bursts rather than gates.
3. Comp for Restricted Openings – this one has a pot (WIDTH) or CV control to set and change the gate width. In1 and In2 are summed together and compared with the level chosen with the SET pot.
Building is fairly simple, just be mindful to bend the LEDs slightly upwards to shine thru the windows from the bottom. It is good to use super-bright LEDs in this module as they have to shine thru the PCB panel."
"This unique Yamaha synthesizer is engineered to authentically recreate the sounds of real instruments without using samples, delivering remarkably natural and accurate tones. This is achieved through Yamaha's proprietary Digital Signal Processing technology, a sophisticated method developed by Yamaha's expert technicians and engineers. This technology creates sounds based on a mathematical model of how instruments produce sound in real life.
Unlike the traditional Sample & Synthesis (S&S) approach, the VL1 generates sound using an internal model of each instrument. This comprehensive model captures the entire behavior of the instrument, enabling the VL1 to produce realistic transitions between notes, not just the notes themselves. The result is an impressively faithful reproduction of real instruments, making the synthetic sounds of an S&S synth seem almost comical by comparison.
The VL1's controls are specifically designed to enhance the "live instrument" experience, with unique effects tailored to whether a wind, string, or analog synth sound is being recreated. For example, when emulating a brass instrument, the modulation wheel alters the virtual embouchure, producing specific tonalities that would typically require a genuine instrument.
This synthesizer is in very good condition, has been well-maintained over the years, and is fully functional. It includes an expanded sound library with discs VLD-01, VLD-02, VLD-03, VLD-04, VLD-06, VLD-07, and a power cable."
Whether you're a total Eurorack beginner or a patching expert, Omri Cohen's Modular Cookbook Volume 1 is filled with 50 recipes and examples to spark inspiration on you modular synthesizer. With topics ranging from compositional approaches to sound design and beyond, Modular Cookbook suits anyone working with any sort of modular synthesizer including Eurorack, Buchla, Serge, semi-modular instruments, and even software applications like VCV Rack. With Modular Cookbook, you'll be able to explore your modules with greater depth, and you might even come out of it with new ideas and ways to use your system that you might not have considered before.
MODULAR COOKBOOK - VOLUME 1 FEATURES
Collection of patch tips and examples 50 recipes across 115 pages Easy-to-read text accompanied with clear diagrams Numerous examples available for VCV Rack"
"I've always loved the super smashed and crunchy sounds of distortion but almost felt embarrassed by how insane it could be haha! So today we're riding the line of chaos and chill vibes. It's a fun one. We'll be taking my TR-606 and pushing it through the JHS PackRat pedal."
00:00 Is it Weird to love this sound? 00:30 What we're talking about today 01:24 The Strategy is exploration 01:49 What is your breaking point? Is this too extreme? 02:38 The Signal flow 03:23 The pedal we're using, the JHS Packrat guitar pedal 03:51 RANDOM 606 Fact to impress your friends 04:43 Before and After Distortion - Exploration 05:46 Send it all the the FX! 06:41 My weird pattern change technique 08:39 Trying different Distortion Circuits 09:49 Fixing and adding FX to the 606 11:06 The Final sound and wrap up 11:41 Can I Nail the Transition? Nope..
"Our guest host is a good friend of Signal Sounds and a regular on the channel: The Unperson! Here he explores five of his favourite algorithms on the Expert Sleepers Disting mk4. This classic 4HP Eurorack module now contains over 100 algorithms covering just about every audio and CV function imaginable in a synthesiser. Every rack should have (at least) one!
What's your favourite Disting algorithm? Let us know in the comments...
"The Larix-Elektro 4TOMS is made to produce tom sounds...
But in fact, this module can do more !
Here some example of creative use of the 4TOMS.
mainly by using an audio signal for the Trig input.
- VCO into a Tom
- A Tom into another Tom
- Audio file into Toms
- Crossfeedback without anything else, between two Toms.
@http://www.larix-elektro.com/
Note: Watch this video that uses only the techniques explained above for the soundtrack:"
"A full improvisation of modular synth and drawing.
Here, I'm using only (and really only, no more modules !) the Larix-Elektro 4TOMS in a unusual way:
Like the 'No Input Mixing ' technique, this is here a 'no input drums' technique.
To be more precise, it's simply taking the input of one tom, and connecting it to the trig input of another tom... and crosspatching these two toms.
Noises, rhythmic loops, sub...etc.
Of course, after recording a long time of improvisation, I'm cutting and mixing together various moments of this improvisation.
The drawing was done without having thought about it before. I only knew that I wanted to start with the drawing of a drummer, and twist this drawing with reminiscence of modular synth elements."
"This VERY RARE Sid Station MOS 6581 Synth by Elektron is a unique synthesizer with a rich history. The device was originally designed as a tribute to the sound chip of the Commodore 64, the MOS 6581 SID. It has since evolved into a powerful stand-alone synthesizer with a distinct sound. Unit is in near-mint cosmetic condition and I’ve pointed out any scratches in the photos. Sounds and works perfectly.
Featuring a variety of functions and controls, this synthesizer is perfect for musicians and producers looking to create authentic vintage C64 sounds. Whether you're using it in a studio or live performance setting, the Sid Station MOS 6581 Synthesis by Elektron is as authentic as it gets.
The sound of SidStation is, of course, very similar to that of the original Commodore 64. The SID chip is well known for being noisy. By design, the oscillators never stop outputting signal—even while not in use. It's this flaw, however, that is part of the character and sound of the SID chip. Tuning stability on this unit’s particular chip is the best I’ve ever heard.
The SidStation is capable of producing all the waveforms of the C64, Triangle, Saw, Pulse, Mix (which is a mix between Saw and Pulse) and variable Noise. Besides this is the synth, a 4-part LFO-modulation system which can be used with Lowpass, Highpass, Bandpass and various combinations of these filters (including a Notchfilter). All of these are controllable by the four knobs on top of the SidStation."
"Introducing the Oracle Matrix Mixer Passive - a versatile tool for complex control voltage and audio mixing attenuation. With built-in 2 x Lopez gate for creating short sounds or enhancing drums, as well as 2 x multiples for doubling your signal, this mixer is a must-have for any sound enthusiast. And if you're looking to boost the sound level, the megaphone feature will come in handy. Check out our website for more information and to get your hands on the Oracle Matrix Mixer Passive today! 24 HP Skiff and passive so don’t need power"
"After ten years with this wonder of a synth and a handful of requests I decided it was time to organize my own presets into a collection to make available for download. "The Deep End" is comprised of Basses, Leads, Plucks, Duophonic Keys, as well as a few FX and Drum patches. These are a combination of some of my favorite personal patches I’ve created over the past 10 years as well as some new creations made specifically for this preset pack. I was aiming for some versatility but naturally gravitate toward sounds I personally like, as well as more usable sounds.
"This is the first lazy afternoon recording with the EMU Carnaval. It is a 32-voice, 16‑part multitimbral synth module focussing on Latin music sounds. It shares the same platform than the Planet Phatt und Orbit 9090V2.
I used for the recording the following FX pedals:
Pigtronix Echolution 2 Deluxe, GFI System Specular Reverb 2.
The signal went through a Presonus StudioLive 16.0.2 into the PC via USB for recording. To create the complete song I recorded consecutively several stereo tracks. On some tracks Compressor and EQ where added in Cubase. The final song was then mastered using iZotope Ozone.
Well, I decided to go back to the basics, but at the same time make something useful for the synth community and do a kind of competition (I like competitions;-). What's my best synth for ambient music :-)"
"The Pianist is a eurorack polyphonic chord sequencer. It facilitates harmonic chord progressions within modular synthesis. It just got a new firmware update (v1.1) with two key features that are explained in this video. These are a new compatibility mode with the Music Thing Modular Chord Organ, and a new option to select the root of a scale you can edit your chords in.
This video shows the step-by-step patch on a modular system to set-up the Pianist with the Chord Organ and compose a fast but musical chord sequence using the new scale root option.
- SPECIAL THANKS -
• The Pianist (v1.0) benefited from the help and support of amazing people -
Thomas Guillory // Elizabeth Gounari
• The Pianist (v1.1) benefited from the help and support of amazing people -
Izaak Hollander
• Thanks to 30350n on GitHub for the pcb2blender tool for easy and smooth 3D renders.
Thanks for reading through :)"
- CHAPTERS -
0:00 - Intro
0:27 - Chord Organ
3:00 - Scale Root
5:31 - Jam & Outro
"The Macbeth Micromac-D is a boutique analogue synth from 2013. It has a three oscillator design, and I think it sounds lovely. There’s just one problem. It can only play one measly note at a time! But what if it were possible to play this synth with unlimited polyphony, in real time? Let's find out! ---------- 00:00 Introduction, Micromac sound demos 02:02 Technique explanation 03:51 First listen 06:27 Patch parameters 10:13 Multistage envelopes 14:03 Jam 1 18:49 Jam 2 19:52 Jam 3 23:26 Discrete MIDI notes ---------- Some additional information:
The explanation of the first patch was simplified. There are a couple of issues to contend with when generating polyphonic parts from a monosynth. There isn’t just one buffer in use, rather multiple in action. Every note on rotates the buffer to be recorded into. This allows the notes of the previous chord to die away while the next chord starts to play, if the playback speed for those previous notes still leaves some signal to be played.
Another issue has to do with recording. A new note on should kill recording into the previous buffer. Otherwise, the notes of the previous chord still in action will start playing a recording of the new note on. I made this selectable in the first patch, because the effect may be desirable from an aesthetic viewpoint.
One more consideration when using an analogue synth controlled with CV and gate as the sound source. If notes are already being held down when the source synth is retriggered, the gate will remain high. As a result, the envelope will not restart. Therefore it’s best to use an envelope generator which is able to be retriggered, like the Intellijel Dual ADSR. That way, every new incoming note will retrigger the envelope.
One last thing: neither version of the patch compensates for audio latency, which means that lower notes are a little late to start."
"Video game sound designer and composer Michael Manning returns to the Signal Sounds channel with his favourite synth: the mighty Arturia PolyBrute. With a stunning new 12-voice version on the way, Mick takes the opportunity to dig deep into the OG model and present some patches that show off the gentler, more subtle sound of this high-end analogue polysynth. Strap in for some synth ASMR!
"The Orpho VLPF is an active low-pass filter module for modular synthesizers in the Eurorack format. It is a fully resonant low-pass filter that uses vactrols as controlling elements for the filter frequency and resonance. The two potentiometers for frequency and resonance set the desired filtering. The more they are opened, the more light falls on the two LDRs. By changing the control voltage, frequency, volume, and resonance change simultaneously. The potentiometers allow the adjustment of the light impact to achieve fine gradations. The two LEDs are exposed to provide a visual representation.
A fully resonant filter shows significant amplification at its resonance frequency, leading to a sharp peak in the frequency response. The quality factor (Q-factor) determines the sharpness of this resonance: a high Q-factor implies a sharp resonance, while a low Q-factor results in a more damped resonance. Fully resonant filters can also tend to oscillate in the absence of an input signal when set to maximum amplification, a phenomenon known as self-oscillation.
Vactrol:
A vactrol is a combination of a light-dependent resistor (LDR) and a light-emitting diode (LED) housed in a common, light-tight enclosure. Increasing the LED brightness decreases the resistance of the LDR. This can be used for various circuits that rely on variable resistances. These components are known for their "soft" sound, as they are linear elements that do not cause distortion.
Module Overview:
- VLPF with vactrol control - Fully resonant filter - Self-oscillation possible - High-quality potentiometers - CV input - Two LEDs behind the front panel for visual representation - Amazing organic sound, ideal for drum snappy sounds and bongo sounds
Enclosure and Power Consumption:
The VLPF is 3U high, 8HP wide, and 18mm deep. Power consumption: +12V, -12V | 40mA.
