Signal Sounds Eurorack Videos & Synth Shop in Glasgow Scotland

Signal Sounds is a synth and modular shop based out of Glasgow, Scotland. They are a new sponsor of the site! You can find their banner on the right. Above are a few videos from their YouTube channel. You can follow them on Twitter @signalsounds. They just moved to a new store location and are planning on hosting an opening party next month. I'll put a post up when I have additional details, but if you are in the area and would like to attend be sure to follow them on Twitter for updates as well.

Playlist:

1. Signal Sounds Channel Trailer

We are Signal Sounds.
www.signalsounds.com

Music is Mutable Elements & Rossum ASSIMIL8OR

2. 4ms WAV Recorder

A basic overview of the features of the new 4ms WAV Recorder module.

3. IK Uno into Red Dragon filter

Here’s a little sound demo of the IK multimedia Uno going through the Hexinverter Red Dragon filter. Sounds great!

4. DPO or Cs-L?

We get asked this question all the time here at Signal Sounds so we decided to make a little video showing off some of the features and sounds of these modules.

We recommend you listen with headphones or quality monitors

5. Clapping Music On A Modular?

I had a bash at making Steve Reichs Clapping Music on a Modular Synth. It's quite easy once you know how but as with all thing modular we thing there are loads of different ways to approach the problem.

Christmas Gift Ideas for Synthesists!

video upload by Signal Sounds

"Hello synth people! Here at Signal Sounds we've compiled a list of affordable stocking fillers perfect for Christmas gifts. We are undoubtedly the most difficult people to buy for so this video is ideal for sharing with your nearest and dearest. Head on over to Signal Sounds to check them out: https://www.signalsounds.com/

0:00 - Intro
0:54 - Knurlies
1:36 - Synth Duster
2:06 - Patch and Tweak
2:43 - Push, Turn, Move
3:08 - Bastl Kastl
4:26 - Cat Synth
4:56 - Blind Noise Nano
5:37 - Tendrils
6:22 - Signal Sounds Tote
6:37 - Signal Sounds Tee

KNURLIES: https://www.signalsounds.com/catalogs...
SYNTH DUSTER: https://www.signalsounds.com/befaco-s...
SYNTH BOOKS: https://www.signalsounds.com/catalogs...
BASTL KASTL: https://www.signalsounds.com/bastl-in...
CAT SYNTH: https://www.signalsounds.com/error-in...
BLIND NOISE NANO: https://www.signalsounds.com/error-in...
TENDRILS: https://www.signalsounds.com/catalogs...
TOTE: https://www.signalsounds.com/catalogs...
TEE: https://www.signalsounds.com/signal-s... "

WMD Geiger Counter Eurorack Module with Original Box

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

via this auction

See the seller's other items for more.

"The Controls:

The Geiger Counter may seem overwhelming, but once broken down, the controls are quite logical.

Gain:

Low settings provide clean tones with no distortion at all, while high settings will brickwall your signal for great sustain. Use the Gain control as a coarse setting for getting the desired tone from the selected wave table.

Tone:

The Geiger Counter's tone control blends muffled low-mids with chimey and clear upper mids and highs providing a very large range of sounds in junction with the Gain. All the way down and the sound is muffled and grungy with little upper harmonic content. The middle range is smooth and full bodied. The top range cuts the lows completely for only upper harmonic content. Use the Tone to fine tune the sound of the wave table.

Tone Enable/Disable:

This switch removes the tone control from the preamp circuit. The tone control sucks some volume from the gain, and this allows the pure ultra hot signal to go directly into the Wave Table. If a very clean tone is desired, set to Disable and adjust the gain to get the right amount of breakup. For most wave tables, disabling the Tone will produce completely different sounds by brickwalling to the extremes of the tables faster.

Direct In/Level:

The direct input allows a signal to be injected directly to the Geiger Counter's digital heart and bypassing the preamps coloration.

Sample Rate:

Controls the length of the samples your signal is converted into. Full up and the Geiger Counter samples faster than a CD. Dial it down a little and you'll lower the fidelity and frequency response, adding overtones and difference frequencies. Down a little produces some very nice chimey clean tones. Down more and higher notes disappear into difference frequencies, all the way down to 280Hz. The sample rate is sort of like a flange whammy.

When the LED is Red, the Sample Rate is in fine mode where the range is limited to the upper end.
The CV input and attenuator are only active when a cable is plugged into the CV jack. When CV controlled, the Sample Rate knob selects the center frequency about which the CV signal moves. When the LED is Green, the Sample Rate knob is logically ANDed with the CV signal, producing some interesting sounds as the CV changes.

Bit Depth:

This controls the finer details of the signal. All up and your signal is represented by the full 8 bits. Each step down cuts the resolution in half, adding quantization error distortion, all the way down to 1 bit making a nasty square wave from a once clean tone. This produces a lo-fi gated distortion sound.

The LED when Green engages Mask mode where your signal is logically ANDed to the 8 bit number produced by the Bit Depth knob. This produces uneven gaps in your signal for some interesting distortion sounds.

The Bit Depth CV and level control is only active when a cable is plugged into the Bit Depth CV input. The Bit Depth knob then controls the center frequency. However, unlike the Sample Rate control, the bit depth can wrap around the edges of the control if the CV signal is larger than the range allows for.

Wave Table:

This knob and display select the wave table to run your signal through. The wave table stage takes your signal and destroys it with math. This produces some incredible sounds. The wave tables are organized so that a more extreme version is typically found one up from the current one.

There are 252 wave tables in all, each with different harmonic content.

The display is in HEX, displaying the numbers 0-9 and the letters A-F. Don't be alarmed, it actually makes remembering your desired wave table easier! The wave table is remembered when the pedal is turned off.

The Wave Table CV input is similar to the Bit Depth's.

The CV signal is only active when a cable is plugged in.

The Wave Table will wrap around the end points 00 and FB.

The center is set by the WaveTable knob."

Instruōctional Live 3: Signal Sounds Session 2023

video upload by Instruō

"In February I had the pleasure of performing in the brand new events space hosted at Signal Sounds, Glasgow.

I performed a live set and followed it with a workshop/patch breakdown/Q&A.

It was a great space to perform and present in. Great audience with some excellent questions!
The performance was included as my personal contribution to the recent compilation published on the Instruō Record Label.
Please check it out here:
https://instruo.bandcamp.com/album/in..."

"When I first started Instruō I was simply making things to make sounds with, with only a vague direction in mind. As things grew and people started showing interest in my designs I settled on the motto/descriptor:

'I make sounds with the things that I make to make sounds with'
Skip forward to current day Instruō (2023) and the team has grown considerably. Instruō has evolved into an operation so far beyond what I could have imagined possible. The motto has naturally evolved to:

"We make sounds with the things that we make to make sounds with"

My hope with this record label is to showcase some of the work of my colleagues and collaborators. I have the absolute privilege of getting to work daily with some of the most creative people I've ever met. I get to do what I do because of the incredible support of Instruō users and team that Instruō has become.

I hope you enjoy the sounds that were made with the things that we made to make the sounds with.

Jason Lim.

Mastered by Jimi Maffei"

Vintage MOOG SIGNAL PROCESSORS

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

via this auction

See the original advert for the set in this post.

via the seller: "THIS IS A ONCE IN A LIFETIME OPPORTUNITY FOR ANYONE TO OWN ALL THESE UNITS WITHOUT HAVING TO WAIT YEARS & YEARS TO FIND THEM ALL... IT TOOK ME MANY YEARS TO FIND THEM ALL AND SPENT LOTS OF MONEY ON THEM PLUS ALL THE ELECTRONIC MAINTENANCE I HAVE GIVEN TO EACH ONE OF THEM TO HAVE THEM WORK ALL 100%.

I have 5 units in a robust ATA Molded PE Shock w/ Rubber Shock Suspension (12U Space) Model: G-Shock-12L almost new with both front and back lid covers with it's own locking key as well... (REFER TO PHOTOS...) And the Moog Parametric Equalizer as a single unit because it didn't fit in the case unfortunately... But you get all 6 units shipped together as a complete set... NOTE: On the last picture the Bode Frequency Shifter, Bode Vocoder, and the second Moog Parametric EQ ARE NOT included in the bundle they are there just because that's where I had mounted both Parametric EQs but you only get one of the Parametric EQs and not 2 that are pictured there along with the other Bode stuff... Although the Bode Units are going for sale as well but are being sold separately so please refer to info description or ask questions if you're not sure. Thanks...

Here's what's included in the bundle:

- Moog 16 Channel Vocoder 327A - Model: MBVO - X 1 Unit
- Moog Custom Engineering String Filter - ( Fully Calibrated...) - X 1 Unit
- Moog Custom Engineering Dual VCO - ( Fully Calibrated As Well...) - X 1 Unit
- Moog 12 Stage Phaser - Model: MPKH - X 1 Unit
- Moog Three Band Parametric Equalizer 304A - Model: MKPE - X 1 Unit
- Moog Ten Band Graphic Equalizer - Model: MKGE - X 1 Unit

Here's some info you may want to know about each unit:

* Moog Dual VCO - The Moog Dual Voltage Controlled Oscillator was built in very limited quantities by the Moog Custom Engineering Department A.K.A. Modusonic which has 2 Ultra-Stable VCOs based on the 3rd Revision of the Minimoog 921A VCO With Temp Comp UA 726 Matched Differential Pair Transistors. SUPER FREAKING PHAT..!!! Personally I think it beats any Minimoog I've own... The waveforms are just "EARGASMIC"... =) You've got to hear it for yourself... The Moog Dual VCO was designed to add that extra two oscillator fatness to other Moog Synthesizers as the Multimoog, Micromoog and the Minimoog at the time; although the Minimoog required the addition of the Keyboard CV Output Modification so it could control the Moog Dual VCO's pitch and route it's output back into the Minimoog's External Audio Input... The Micromoog & Multimoog did not require this mod because they have already a Keyboard CV Output Jack as well as their respective audio input. So basically you can use the Moog Dual VCO with any Analog Synthesizer with a Keyboard CV Output (1 Volt/Oct.) and an External Audio Input to pass the Dual VCO's output signal back in it and voila two extra fat Moog Oscillators in your set up.

* Functions, Features & Input/Output Option:

- Master Tune - Controls overall tuning of both oscillators or one when only used as single...
- Pulse Width - Controls width of both oscillator's pulse waveforms when used either as single or dual.
- Octave Select Multi-Switch Knob with: LO, 32', 16', 8', 4', 2'. (Both Oscillator 1 & 2 have their own Multi-Switch Knob)
- Waveform Select Switch with: Up Ramp/Sawtooth, Triangle, Pulse, Sine.
- Oscillator On/Off Switch - Each Oscillator has it's own on/off switch to quickly add or subtract one oscillator while performing.
- Oscillator 2 Sync Switch - Automatically syncs both oscillators together by the flick of a switch.
- Oscillator 2 Tune Knob - To tune or detune oscillator 2 from 1 either while synced or un-synced.
- Output Level Knob - Controls overall output volume.
- Power Switch - Turns on/off unit.
- Oscillator 1 CV Input Jack 1/4" (1 Volt/Oct.) - Controls oscillator 1 only.
- Both In 1 CV Input Jack 1/4" (1 Volt/Oct.) - Controls pitch of both oscillators while oscillator 1 being the master controller.
- Oscillator 1 Output Jack 1/4" - Outputs signal of oscillator 1 only.
- Oscillator 2 CV Input Jack 1/4" (1 Volt/Oct.) - Controls oscillator 2 only.
- Both In 2 CV Input Jack 1/4" (1 Volt/Oct.) - Controls pitch of both oscillators.
- Oscillator 2 Output Jack 1/4" - Outputs signal of oscillator 2 only.
- X 4 Multiple Output Jacks 1/4" - Note: These are not connected whatsoever to any circuit inside the unit, they only serve to split any input or output signal you wish to multiply.
- Runs on 120 VAC Only.

* Moog 16 Channel Vocoder - The Moog 16 Channel Vocoder was designed by Genius Engineer and Pioneer In Electronic Music Instruments Harald Bode in the mid 70's about and first released in about 1977 under the "Bode Sound Company" Brand which was manufactured by Polyfusion under the name of Bode Vocoder 16 Channel Model 7702, and was then licensed to the Moog Synthesizer Brand in about 1978 which was then released as The Moog 16-Channel Vocoder 327A Model MBVO. Both Vocoders are almost identical in circuit design except for a few slight variations in the type of components that were used in each but functions and features are basically the same...

* Functions, Features & Input/Output Option:

CLICK FOR MORE »

Roland SH-101 Reverse Keys, Modded

images via this auction

Details:
NOVA-MOD UPGRADED NEW FEATURES
* VCF FM : Amazing new sounds are now added through this feature. Six FM sources are available.
* LFO Clock Input : Syncing the Arpeggiator and LFO to external drum modules and sequencers is now possible. As well, intersting feedback loops can be created.
* PW Modulation Source Selection : Now you can choose a pulse width source. It is independant from LFO's waveform setting. OSC source are included.
* Pulse width to near 0% : Pulse width effects are now made more extreme and powerful.
* External Audio Input : The ability to do FM of the VCF by an external audio source or to simply route a signal into the audio path is now provided. Don't forget feedback loops!!
* VCF CV Input : Just plug in a foot pedal or a CV from a midi convertor and your SH-101 will sing!
* LFO Rate Scalar : Ever hear a bell sound out of a 101? Try this on Hi!! Want a really slow weep...you got it too.
* Filter Overdrive : Filter cleaning knob as the filter is ovedriven at it's minimum setting and clean at max.

NOVA Mod Upgarded details :
Pulse width to near 0%
By closing the pulsewidth to a spike, new sounds can be attained by the SH-101. This spike wave source is very useful for brightening a bass patch. (A bass patch, with only the sub OSC waveform assigned, can be brightened, but not raised in pitch, by adding a little pulsewidth signal with a manual setting of less than 1% duty cycle.) In another application, in which only full ramp waveform is assigned, manually raising and lowering the spike waveform's amplitude has been compared to sounding like a wavetable sweep. As well, LFO mudulation of the pulse width is made dramatic because of the closer approach to 0%.

Pulse width Modulation Source Selection
A six way rotary switch enable you to chose the pulsewidth modulation sources independantly of the LFo waveform setting. This modulation source makes many new and interesting sounds. A randomly modulated pulsewidth is especially unique and pleasant. The PW modulation sources are : LFO Triangle / LFO Square / LFO Random / Sub OSC -1 Octave Square / Sub OSC -2 Octave Pulse / LFO Noise. The SUN OSC Mod sources creates a unique bass enhancement because of their higher frequency and keytracking. The result is a richer and deeper sound. As well, although there are only two sub OSC sources, changing the sub OSC swithce -1/-2/-2 results in even further modulation effects.

LFO Rate Scalar
A three way toggle switch scales the overall range of the sh-101's internal LFO Clk (the existing LFO rate slider still functions normally). The scalar settings are Normal/Low/High. In the Low setting, a cycle of 30 seconds can be attained. This is great for mild changes in TRANCE type music. In the High mode, up to 1200Hz can be used to create interesting cross-mod bell like sounds. Perfect for Industrial music and clanging metalic sounds. High mode works especially well when creating a synthetic kick drum patch or short-wave radio sounds.

LFO Clock Input
A 1/4" jack allows the insertion of an external clock signal to drive the 101's LFO. This injected signal trigger the LFO but does not change it's waveform. By applying clock, LFO AND arpeggiator are both synced to the external source. This makes for very moving and groovy patterns with only a drum box and NOVA MODED 101. A particularly nice application is to modulate the VCF Cutoff with a random LFO while playing the sequencer. Of course you can, at the same time, inject a seperate clock into the arpeggiator via the 101's Ext CLK in Jack. This will enable you to run the arpeggiator and LFO at different speeds. As a bonus, audio can be injected to drive the LFO. A simple trick is to patch the headphone output into the EXT. LFO Input. This feedback loop makes for sounds that can be mildly distorted be simply adjusting the VCF's Mod amount ( No need for an external distortion processor!!!) This effect is great for slow sweep with a resonating filter setting. Very minimoog-ish.

External Audio Input
A 1/4" jack and toggle switch allows external audio to be injected. A rotary pot controls the amplitude of the injected signal. It can be routed to one of two source. 1./ directly into the filter along with the OSC 's waveforms. External processing of audio through the VCF and ENV is a typical feature on some synths however a seperate trigger can be applied to fire the SH-101's envelope. 2./ intot he VCF's cutoff modulation point ( An external FM source).

VCF CV Input
An external CV can be applied to the 101 via this 1/4" jack. This feature is typical on a Juno-60, Jupiter 4 and Pro One. A midi converted to a CV or an "expression" foor pedal are typically connected here.

VCF FM
VCF FM is the most powerful NOVA-MOD feature. It can be used in moderation to simply add brightness to a bass patch with low frequencies (due to subtractive synthesis). Or it can be used to creat powerfull cross-mod sounds that are difficult to explain... they must be heard. These sounds are somewhat aggressive, distorted, bell like but most importantly, not attainable on a regular SH-101. There sounds are similar to those heard on a MiniMoog with its third LFO assigned. One example : Dial a patch with only a ramp waveform assigned but at the same time, modulate the VCF Cutoff with the Pulsewidth. Manually change the pulsewidth to vary the FM effect. It is quite unique. You can then switch in Sub OSC -2 OCT. Pulse as the FM source then adjsut the -1oct/-2oct/-2/oct switch to change the sound futher. Finally swing the Pulsewidth waveform as the FM source but switch from Manual to LFO modulation and then play with the PW Mod's waveform. A rotary pot controls the amount of modulation. A six way rotary switch selects the FM source : Pulse waveform / Ramp waveform / -1 Octave Sqr waveform / -2 Octave Sqr waveform / -2 Octave Pulse waveform / Noise waveform. As well, although there are only two sub OSC sources, the sub OSC switche -1/-2/-2 changes the sound, giving even more variety.

Filter Cleaning
Filter cleaning knob as the filter is ovedriven at it's minimum setting and clean at max. This gives a far better response curve."

KORG Wavedrum - Full Details

"It's back, and better than ever
The original Korg WAVEDRUM amazed the music world back in 1994. This legendary musical instrument was instantly famous for its innovative design, performance possibilities, and unique sounds. Well, hang on tight; the power-packed, affordable next-generation WAVEDRUM is here today and ready to make musical history. Again.

WAVEDRUM – Unprecedented sound, response, and performance
Sonically richer, programmable, and intensely sensitive, this 2nd generation WAVEDRUM is bursting with more than enough power and expression to create its own musical legend. The extreme dynamic range challenges the response of an acoustic instrument. WAVEDRUM responds instantly to any and all playing styles, from subtly-nuanced tapping and stroking to aggressive, rhythmic assaults. From traditional acoustic percussion instruments to unique sounds previously impossible to obtain, WAVEDRUM serves up an enticing treasure trove of sounds. With WAVEDRUM, you're always in control. Instruments that normally require special techniques to play, such as tabla, conga, etc., can be played with ease. Create your own unique performance style, filled with unparalleled levels of expression and originality. Built to travel, the compact and lightweight WAVEDRUM is ideal wherever your musical dreams take you – from casual playing through to a full-on recording session or a live concert performance.

Open the door to new musical journeys
The new Korg WAVEDRUM delivers inspiration and satisfaction to creative performers seeking new realms of expressiveness and sounds. Moving beyond traditional drum and percussion sounds, WAVEDRUM also provides totally new and unique sounds that are not available in the real world, and offers new ways of playing to achieve new levels of musical expression. Imagine changing the pitch randomly with each hit, or playing melodic phrases simply by choosing a musical scale and applying pressure to the head. Imagine no more, WAVEDRUM does it all. While opening new doors, WAVEDRUM is faithful to its roots. Traditional hand-drum techniques, such as adding pitch and tonal changes to a strike by pressing the head, have been previously unobtainable on an electronic instrument. No longer. WAVEDRUM can process and respond to these intimate performance gestures as no other instrument can. These same techniques provide a wealth of performance possibilities. For example, WAVEDRUM can produce sitar and tambura sounds at the same time. You can produce tambura sounds alone by hitting the head, adding the sitar sounds by applying pressure to the head before hitting it. Applying further pressure can change the pitch of the sitar within the selected scale. Only WAVEDRUM is able to offer such astounding versatility.

Multiple sensors deliver previously unimaginable expressiveness
Acoustic percussion instruments produce sound naturally, in direct response to a physical impact, be it gentle or abrupt. WAVEDRUM, although an electronic musical instrument, creates sound exactly the same way. The head and rim pickups are directly used as a sound source to be processed by the DSP (Digital Signal Processing) algorithms, and they also trigger the PCM sound engine. Together with the pressure sensor under the head, the WAVEDRUM responds to each and every subtle finger and hand motion (hitting, rubbing, scratching etc). as well as to the traditional hand drum techniques of open shot, slap shot, heel and toe, mute, etc. Of course, the WAVEDRUM responds not just to your hands, but to other playing materials as well, such as sticks, mallets, and brushes. The rim has two types of notches, small and large, and these can be used to elicit a tremolo-type effect by scratching with sticks, etc. Combining the rim sounds with the head sounds can create an even richer, more original performance.

DSP synthesis and PCM samples combine for endless sonic exploration
The WAVEDRUM contains 36 DSP algorithms to conjure an abundance of synthesis methods; analog, additive, non-linear, physical modeling, etc. Using these building blocks, you can create various instrument sounds, natural sounds, or purely synthetic sounds – in addition to WAVEDRUM’s own unique voice. The PCM sound engine – the other important part of WAVEDRUM's sound creation system – contains 200 sampled sounds; 100 for the head, and 100 for the rim, with velocity-switching capabilities. Certain algorithms allow you to combine a specific DSP method and a PCM instrument to the head, and assign a different combination to the rim. This method of controlling multiple sounds within a single program delivers a fantastic playing experience, rich in sound. In other algorithms, the velocity and tone of the strike are used to control the PCM sound, creating a responsive interaction that far surpasses any sample-playback device, one rivaling that of an acoustic instrument.

Planet-wide percussion
WAVEDRUM begins with a foundation of traditional pop/rock drum sounds such as snares, kick drums, tom toms, and more. WAVEDRUM also opens new vistas of sound, delivering a wealth of percussion sounds from many eras and cultures around the globe and throughout time. Ethnic percussion instruments, although seemingly simple in structure and performance, are capable of expressing the complex emotions of a culture. These include popular percussion instruments such as cajons, congas and tablas; metallic instruments such as cowbells, and triangles, along with rare ethnic percussion sounds. With WAVEDRUM, you have instant access to instruments such as the udo, a clay pod percussion instrument; the jegog, a bamboo gamelan marimba from the island of Bali; a talking drum from Africa, gongs, and many other instruments that often require special playing skills. Not strictly limited to percussion sounds, WAVEDRUM includes stringed instruments such as the sitar, koto, and berimbau as well. For every sound, WAVEDRUM adds its own new modes of expression, in addition to faithfully re-creating the original sounds.

Enjoy 100 preset programs; create 100 programs that are all your own
The 100 preset WAVEDRUM programs range from high-fidelity emulative drum and percussion sounds to a world of new and unique sounds. There are a range of parameters available for editing and tweaking to create new sounds to suit your own music or style of playing. In addition to making changes to pitch, decay time, loudness, reverb, delay, and curve (intensity) of the pressure sensor, you can completely alter the sound by, for example, changing the head material parameter from skin to metal. The combination of DSP and sampled sounds can also be changed to create totally new sounds from scratch. These new programs (up to 100) can be stored in the user area. The WAVEDRUM also has a Live Mode, which can store up to 12 favorite programs (from the preset or user programs) for selection instantaneously during performance.

Jam-along functions for added fun
Sure, you can enjoy the WAVEDRUM just by playing the sounds alone, but the dynamic and interactive WAVEDRUM adds some special features that provide jam-along abilities for fun or practice. Practice your paradiddles or simply wail away along to 100 loop phrases from various musical genres. Using the AUX input, you can mix in the signal from any audio source – CD, MP3 player, or even an additional WAVEDRUM. The options are endless.

Ready, Set, Go
Portable, compact, and lightweight, WAVEDRUM is ready for any musical outing. Hold WAVEDRUM on your lap, or play it standing like a hand drum. Place WAVEDRUM on an ordinary snare drum stand, or add WAVEDRUM to any electronic or acoustic drum kit. Use WAVEDRUM as part of a DJ set-up, or add a percussive element to your keyboard rig. With the optional high stand (Percussion Stand ST-WD), WAVEDRUM is the ideal accent for any vocalist or front person. Using the headphone output allows you to practice in private, anytime, anyplace – without fretting about the neighbors!

Synthesis:
DSP + PCM Combination

DSP Algorithms:
36 Total

PCM Instruments:
200 Total; 100 Head, 100 Rim

Programs:
200 Total; 100 Preset, 100 User

Loop Phrases:
100 Total; Various genres and tempos

Effects:
Reverb, Delay

Panel Controls:
Volume, Bank/Mode/Page select,
Program/Parameter select, Value control, Write

Input/Output jacks:
Output: L, R ¼" unbalanced
Phones: Stereo mini phone jack
AUX IN: Stereo mini phone jack

Display:
3-character 7-segment LED

Sampling frequency:
48 kHz

A/D, D/A conversion:
24 bit

Power supply:
DC9V 1.7A

Dimensions:
W x D x H: 13.74" x 13.54" x 2.95"

Weight:
4.41 lbs.

Included items:
AC Adapter, Tuning key, Allen wrench

Options:
Replacement Head HD-WD
Percussion Stand ST-WD

* Specifications and appearance are subject to change without notice for improvement."

Details and specs for the archives.

Roland SH-101 Nova Mod

via this auction

"New features from Nova Mod
* VCF FM : Amazing new sounds are now added through this feature. Six FM sources are available
* LFO Clock Input : Syncing Arpeggiator and LFO to external drum modules and sequencers is now possible. As well, interesting feedback loops can be created.
* PW Modulation Source Selection : Now you can choose a pulse width source. It is independent from the LFO's waveform setting. OSC sources are included.
* Pulse width to near 0% : Pulse width effects are now made more extreme and powerfull
* External audio input : the ability to do FM of VCF by an externalaudio source or to simply route a signal into the audio path is now provided.
* VCF CV input : Just plug in a foot pedal or a CV from a midi convertor and your sh-101 will sing!
* LFO rate Scalar : Ever hear a bell sound out of sh-101? Try this on Hi! Want a really slow sweep...you got it too.
* Overdrive Knob : Filter cleaning

Nova Mod Details :
Pulse width to near 0% - By closing the pulsewidth to a spike, new sounds can be attained by the sh-101. This "spike" wave source is very useful for brightening a bass patch. (A bass patch, with only the sub OSC waveform assigned, can be brightened, but not raise in pitch, by adding a little pulse width signal with a manual setting of less than 1% duty cycle.) In another other application, in which only full ramp waveform is assigned, manually raising and lowering the spike waveform's amplitude has been compared to sounding like a wavetable sweep. As well, LFO mudulation of the pulsewidth is made more dramatic because of the closer approach to 0%.

Pulsewidth Modulation Source Selection - A six-way rotary switch enables you to choose the pulsewidth modulation sources independently of the LFO's waveform setting. This modulation source makes many new and interesting sounds. A randomly modulated pulsewidth is especially unique and pleasant. The PW modulation sources are LFO Triangle / LFO Square / LFO Random / Sub Osc -1 Octave Square* / Sub Osc -2 Octave Pulse* / LFO Noise *The sub Osc Mod sources creates a unique bass enhancement because of their higher frequency and keytracking. The result is a richer and deeper sound. As well, although there are only two sub Osc sources, changing the sub Osc switch -1/-2/-2 results in even further modulation effects.

LFO Rate Scalar - A three-way toggle switch scales the overall range of the SH-101's internal LFO Clk (the existing lfo rate slider still functions normally). The scalar setting are Normal/Low/High. In the Low setting, a cycle of 40 seconds can be attained. This is great for mild changes in "trance" type music. In the High Mode, up to 1200Hz can be used to create interesting cross-mod bell like sounds. Perfect for "industrial" music and clanging metalic sounds. High mode works especially well when creating synthetic kick drum patch or short-wave radio sounds.

LFO Clock Input - A 1/4" jack allows the insertion of an external clock signal to drive the 101's LFO. This injected signal triggers the LFO but does not change it's waveform. By applying a clock, LFO and Arpeggiator are both synced to the external source. This makes for very moving and groovy patterns with only a drum box and Mova-modded 101. A particularly nice application is to modulate the VCF cutoff with a Random LFO while playing the sequencer. Of course you can, at the same time, inject a seperate clock intot he arpeggiator via the 101's Ext Clk jack. This will enable you to run the arpeggiator and LFO at different speeds. As a bonus, audio can be injected to drive the LFO. A simple trick is to patch the headphone output into the Ext' LFO input. This feedback loop makes for sounds that can be mildly distorted to heavily distorted by simply adjusting the VCF's mod amount.(No need for an external distortion processor!) This effect is great for slow sweeps with a resonating filter setting.

External Audio Input - A 1/4" jack and toggle switch allows external audio to be injected. A rotary pot controls the amplitude of the injected signal. It can be routed to one or two sources. 1./ directly into the filter along with the OSC's waveforms. External processing of audio through the VCF and ENV is . 2./ into the VCF's cutoff modulation point. (An external FM source.)

VCF CV Input - An external CV can be applied to the 101 via this 1/4" jack. This feature is typical on a Juno-60, Jupiter 4 and Pro-One. A MIDI controller converted to a cv or an "expression" foot pedal are typically connected one.

VCF FM - VCF Fm is the most powerful NOVA-MOD feature. It can be used in moderation to simply add bringtness to a bass patch with low frequencies (due to subtractive synthesis). Or it can be used to create powerful cross-mod sounds that are difficult to explain....they must be heard. These sounds are somewhat aggressive, distorted, bell like but most importantly, not attainable on a regular SH-101. One example : Dial a patch with only ramp waveform assigned but at the same time, modulate the VCF Cutoff with the Pulsewidth. Manually change the pulsewidth to vary the FM effect. It is quite unique. You can then switch in Sub Osc -2 Oct. Pulse as the Fm source then adjust the -1oct/-2oct/-2oct switch to change the sound further. Finally swing the Pulsewidth waveform as the Fm source but switch from Manual to LFo modulation and then play with the PW Mod's waveform. A rotary pot controls the amount of modulation. A six way rotary switch selects the FM sounce : Pulse / Ramp / -1 Octave Sqr / -2 Octave Sqr / -2 Octave Pulse / Noise Waveform"

DACS Freque II Ring Modulator Demo

Published on Apr 15, 2014 perfectcircuitaudio·58 videos

"This is a demo of the DACS Freque II processing a TR-909, Nord Wave, Pro-One, and TR-606. Enjoy!"

via this auction

"Produce pumping tracks that stand out from the crowd with the FwS FREQue II (pronounced "freak"), a genuinely new and inspirational analogue effects processor.

The Effects

With low frequency modulation inputs: Simple to complex autopan effects, gating, amplitude modulation, flanging, spatialising

With mid frequency modulation inputs: Vocoding type effects, adding tunable harmonics, both lower down to subsonic, and up to supersonic, second harmonic distortion (like valves/tubes), harmonising, retuning percussion, gating, general rich distortion, Sci-Fi voices (eg a Dalek)

With high frequency modulation inputs: Transposition with distortion, adding glitter, air, sparkle etc when mixed back into original

With music or sounds into both inputs: Vocoding effects, gating effects, fattening/thickening effects, spatial effects, weird transformations

Internal FM: Frequency Modulation of modulation oscillator at all frequencies, giving effects ranging from slow pulsation to the classic FM generation of complex waveforms

External voltage control of oscillators: Envelope follower effects, FM effects as above, randomised autopanning

Frequency shift: Up and down shift of frequency with change in harmonic structure, with FM for sliding effects, using feedback loop to create filter type sweeps

Application Ideas

This section is not intended to be a comprehensive list of all that can be done with the FREQue II. Rather it is a list of starting points for you to begin experiments from. Using the FREQue II, producers and engineers can almost infinitely extend the voices of their existing battery of synthesisers and sound generators and create vast ranges of completely new sounds, add depth and warmth to early digital synthesisers, give drums new power, radically transform voices...

Some treatments will require mixing with the original signal and some will need to be kept separate. For example adding distortion to a continuous sound will need mixing while gating effects will not.

Tone and Music:

Set Up: Feed a stable tone, or a slightly varying one, into the MOD input and the music or tune into the MUSIC input. The MOD input could be from the internal oscillator. If the MOD input is harmonically related to the key of the music the OUTPUT will tend to be harmonic e.g. the MOD input is a D and the music is in the key of D, then the output will tend to be harmonically rich. If the MOD input is not related, then the output will be rough, bell like and/or noisy depending on the frequency of the input.

Try this: Use held chords that have a certain amount of vibrato - as the pitch of the chords varies so the harmonic content of the sound will vary. Vary the MOD frequency to generate sliding upper and lower harmonics, Use randomly generated frequencies from synthesisers on MOD input, Try varying the edge controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects, Have a go at the 1st oscillator range to produce gating effects, the 2nd range to produce tremolo effects, the 3rd range to produce heavy modulation effects while the 4th range will produce higher and higher harmonic effects

Drums:

Set Up: Feed percussive sounds into the MUSIC input and tones or other sounds into the MOD input. The MUSIC input will then act as a trigger and give a gating effect, only producing OUTPUT when the MUSIC input signal is present.

Try this: Vary the MOD input frequency to produce output harmonically related to the music, Feed the melody into the MOD input and the percussion will 'play the tune', or at least tend to go up and down with it, Feed any old music to the MOD to produce an effect similar to scratching, Feed the MOD input with carefully selected samples synchronised with the percussive sounds, Using the FREQue II's oscillator set on the 2nd or 3rd range generate deep deep bass sub harmonics on bass drums, Using the oscillator set on the 4th range generate grain, grit and glitter on snares, hi hats, cymbals, maracas

Vocal Inputs:

Set Up: Feed your voice into the MUSIC input and feed a variety of signals into the MOD input - music, tone, noise...

Try this: Use the voice to gate the MOD inputs, Use the voice as a percussion imitator to produce hot rhythm sections from modulated MOD inputs, Try the 1st range to produce gating and heavy breathing effects, the 2nd range to produce tremolo and panting effects, the 3rd range to produce heavy modulation effects (Dalek/sci-fi voices among others) while the 4th range will produce higher and higher harmonic effects

Same signal or L & R of stereo into both inputs:

Set Up: Feed the same signal or the left and right of a stereo signal into the MUSIC and MOD inputs.

Try this: Mix the output into the original signal to harmonically enhance the signal, Left and right inputs into MOD and MUSIC inputs respectively on both modules can produce phasing and other spectral phenomena, particularly if the spectral controls are varied, Try varying the edge and/or weight controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects

Delay/feedback:

Set Up: Use a delay line to process signals going in to or out from the units

Try this: Feed audio out back to MUSIC input via delay at tempo or multiple of tempo, Do the above with long decays on the end of sounds, Split the signal to both inputs and use delay line on one input to produce weird flanging effects on output, pan both outputs centrally or left and right

Multiple Modulation:

Set Up: Feed music into the MUSIC input of one modulator and use the internal oscillator to modulate it. Take this OUT to the MUSIC input of the second modulator and modulate it with the same internal oscillator. The result is that the original signal is reconstituted and additional higher partials are also added."

Roland SH-101 With NOVA MODS + EXTRAS

via this auction

"Here Are Some Features for The Nova Mods...

* VCF FM : Amazing new sounds are now added through this feature. Six FM sources are available
* LFO Clock Input : Syncing Arpeggiator and LFO to external drum modules and sequencers is now possible. As well, interesting feedback loops can be created.
* PW Modulation Source Selection : Now you can choose a pulse width source. It is independent from the LFO's waveform setting. OSC sources are included.
* Pulse width to near 0% : Pulse width effects are now made more extreme and powerful
* External audio input : the ability to do FM of VCF by an external audio source or to simply route a signal into the audio path is now provided.
* VCF CV input : Just plug in a foot pedal or a CV from a midi converter and your sh-101 will sing!
* LFO rate Scalar : Ever hear a bell sound out of sh-101? Try this on Hi! Want a really slow sweep...you got it too.
* Overdrive Knob : Filter Cleaning

Nova Mod Details :
Pulse width to near 0% - By closing the pulse-width to a spike, new sounds can be attained by the sh-101. This "spike" wave source is very useful for brightening a bass patch. (A bass patch, with only the sub OSC waveform assigned, can be brightened, but not raise in pitch, by adding a little pulse width signal with a manual setting of less than 1% duty cycle.) In another application, in which only full ramp waveform is assigned, manually raising and lowering the spike waveform's amplitude has been compared to sounding like a wavetable sweep. As well, LFO mudulation of the pulsewidth is made more dramatic because of the closer approach to 0%.

Pulsewidth Modulation Source Selection - A six-way rotary switch enables you to choose the pulsewidth modulation sources independently of the LFO's waveform setting. This modulation source makes many new and interesting sounds. A randomly modulated pulsewidth is especially unique and pleasant. The PW modulation sources are LFO Triangle / LFO Square / LFO Random / Sub Osc -1 Octave Square* / Sub Osc -2 Octave Pulse* / LFO Noise *The sub Osc Mod sources creates a unique bass enhancement because of their higher frequency and keytracking. The result is a richer and deeper sound. As well, although there are only two sub Osc sources, changing the sub Osc switch -1/-2/-2 results in even further modulation effects.

LFO Rate Scalar - A three-way toggle switch scales the overall range of the SH-101's internal LFO Clk (the existing lfo rate slider still functions normally). The scalar setting are Normal/Low/High. In the Low setting, a cycle of 40 seconds can be attained. This is great for mild changes in "trance" type music. In the High Mode, up to 1200Hz can be used to create interesting cross-mod bell like sounds. Perfect for "industrial" music and clanging metallic sounds. High mode works especially well when creating synthetic kick drum patch or short-wave radio sounds.

LFO Clock Input - A 1/4" jack allows the insertion of an external clock signal to drive the 101's LFO. This injected signal triggers the LFO but does not change it's waveform. By applying a clock, LFO and Arpeggiator are both synced to the external source. This makes for very moving and groovy patterns with only a drum box and Nova-Modded 101. A particularly nice application is to modulate the VCF Cutoff with a Random LFO while playing the sequencer. Of course you can, at the same time, inject a separate clock into the arpeggiator via the 101's Ext Clk jack. This will enable you to run the arpeggiator and LFO at different speeds. As a bonus, audio can be injected to drive the LFO. A simple trick is to patch the headphone output into the Ext' LFO input. This feedback loop makes for sounds that can be mildly distorted to heavily distorted by simply adjusting the VCF's mod amount.(No need for an external distortion processor!) This effect is great for slow sweeps with a resonating filter setting.

External Audio Input - A 1/4" jack and toggle switch allows external audio to be injected. A rotary pot controls the amplitude of the injected signal. It can be routed to one or two sources. 1./ directly into the filter along with the OSC's waveforms. External processing of audio through the VCF and ENV is . 2./ into the VCF's cutoff modulation point. (An external FM source.)

VCF CV Input - An external CV can be applied to the 101 via this 1/4" jack. This feature is typical on a Juno-60, Jupiter 4 and Pro-One. A MIDI controller converted to a cv or an "expression" foot pedal are typically connected one.

VCF FM - VCF Fm is the most powerful NOVA-MOD feature. It can be used in moderation to simply add bringtness to a bass patch with low frequencies (due to subtractive synthesis). Or it can be used to create powerful cross-mod sounds that are difficult to explain....they must be heard. These sounds are somewhat aggressive, distorted, bell like but most importantly, not attainable on a regular SH-101. One example : Dial a patch with only ramp waveform assigned but at the same time, modulate the VCF Cutoff with the Pulsewidth. Manually change the pulsewidth to vary the FM effect. It is quite unique. You can then switch in Sub Osc -2 Oct. Pulse as the Fm source then adjust the -1oct/-2oct/-2oct switch to change the sound further. Finally swing the Pulsewidth waveform as the Fm source but switch from Manual to LFo modulation and then play with the PW Mod's waveform. A rotary pot controls the amount of modulation. A six way rotary switch selects the FM sounce : Pulse / Ramp / -1 Octave Sqr / -2 Octave Sqr / -2 Octave Pulse / Noise Waveform"

New Cwejman DP-1 Dynamic Processor Eurorack Module

"The DP-1 is a one knob compressor with additional features for dynamic treatment of music material in standard and some unique ways. The module consist of three main parts:

Compressor
The compressor is build around a high performance VCA circuit with low distortion and low noise floor. Instead of two controllers it has only one RATIO controller which compensate the signal loss at increased compression. It means that the low level signal is boosted and the high level signal is attenuated. The incoming signal passes the LEVEL INPUT controller and the outgoing signal is controlled by the OUTPUT GAIN. All parameters, such as the envelope follower (output ENV) with ATTACK and RELEASE, RATIO and OUTPUT GAIN are controllable manually by knobs and by CV inputs. The switch SOFT KNEE activates the function for gradual compression action.

Mute
The Mute (or squelch) circuit allow amplitude re-shaping in many ways for compressed or uncompressed audio signal. The muting circuit has four controllable parameters, TRESHOLD for activating the circuits at variable signal level, DEPTH for the muting process, from 0 to 72 dB deep, ATTACK and RELEASE controls for the muting process derived from the Gate. The Mute allows a complete re-shaping the dynamics for the audio signal. You can remove the unwanted and high spikes from heavy compressed signal due the compressor attack time which prevent overload the outgoing signal. The result is a compressed signal with short attack time and with no overshoots of the signal. Another example is treatment of beats, drum sounds or other sounds with variable accents or dips, variable fade in and out, also called as “push, pull”, “breathing”, or “suction” sounds. Just two examples and all four parameters are CV controllable, as well.

Side Chain Filter
The side chain is the circuit which determinate the compression and mute action related to the frequency characteristic of the side chain filtering. A side chain with equalization controls can be used to reduce the volume of signals that have a strong spectral content within a certain frequency range: it can act as a de-esser, reducing the level of vocal sibilance in the range of 6–10 kHz using the high pass filter or "de-bumper", as I called, for reduction of strong bass or sub bass signals by using the low pass filter in the sidechain path. The build in side chain filter is a 12 dB/octave multi mode filter with low pass and high pass outputs for mentioned duties and others since the corner frequency is controllable by external CV signal."

via http://www.cwejman.net/dp-1.htm

HELLFIRE MODULATOR TS-21

images via this auction

Inside a TS-21

via brian c

"As you can see in the photo, this is the third unit produced. This unit is completely hand wired from point-to-point, and in EXCELLENT condition. This unit has an extra knob in the rear which is not mentioned in the owners manual, leading me to believe that this could possibly be an early prototype. The rear knob has an affect on the frequency of an oscillator, separate than the ones the L1 and L2 knobs control.

Metasonix has put its knowledge of tube circuitry to good use in the design of the TS-21. The unit is made up of three stages, each with its own tube: a preamp with a VCA, a pulse-width modulator (PWM), and an LFO-controlled waveshaper. Vacuum tubes are also used for the LFO and for powering additional circuits, giving you a total of five tubes in the device. Despite the tube count, however, the TS-21 has very low self-noise and gets only slightly warm to the touch.

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New Sound Processing App Coming From the Maker of SynthScaper

Some new sound processing app from Igor Vasiliev on Vimeo.

This is a preview of the work of the first part of this app, which finds new fragments in the spectrum of the input signal, linking their appearance to the internal rhythm as much as possible. The parameters in the left corner are adjusted via self-balancing feedback. More details: https://motion-soundscape.blogspot.com

via Motion Soundscape

"I started working on a new audio processing application that will be a completely different type of sound effects. It is not even quite the sound effect as it is usually understood. It is something between a sound effect and a musical instrument or sound generator.

This application will also process the source signal, but unlike the usual audio effects, it does this based not on static parameter values, but on the basis of determining the internal structure of the input signal over time.

In classic sound effects, even if they dynamically react to changes in the amplitude or even the spectrum (which is much less common) of the signal, all processing is determined by a set of static parameters. It doesn't matter that these parameters can be changed by the LFO, since the LFO parameters are still static in relation to the structure of the input signal. In that effects, you know (mostly) how to change the input signal depending on the change in these parameters.

In my new app, signal processing will be determined by the time-varying structure of the signal itself.

This app analyzes the spectrum of the input signal and, based on statistical processing of data vectors and self-balanced feedbacks, reveals new fragments appearing in the input signal. Next, the fragments of the input signal will be reassembled in a different order by the genetic algorithms that will create the best (from their point of view) composition based on the contents of these fragments and some specified rules of creation the composition.

The result should be quite unusual. But this is not a mainstream effect. This is an app for pure creativity and experimentation. You influence the result not by the settings (although they will also be), but by the character and rhythm of the input signal.

Imagine that you can provide to the input both finished compositions and tracks, as well as mixes of sounds of various musical instruments (modular synths will be just great), sounds of nature and noises, and on the output will be a composition built from fragments of these sounds according to the new dynamic rules."

Synthesizers.com Portable 22 Module Synthesizer

images via this auction
"The Portable-22 is a powerful 3-oscillator analog machine complete with envelope generators, amplifiers, a mixer, state-variable filter, ring modulator and more. Use any controller that provides MIDI. 25 patch cables are included and expansion is easy - just add more cabinets.

System Includes

Cabinet
QCP22 Vinyl-covered 22 space cabinet.

Internal Power Components
QPS1 Power Supply
QDH20 DC Power Harness

Modules
1) Q104 MIDI Interface
Creates control voltages and gate signals from MIDI keyboards and other MIDI devices.

1 Q105 Slew Limiter
Limits the rate of change of a signal. Useful for creating Glissando (Portamento), as an envelope generator, or a gate delay.

3 Q106 Oscillators
The Oscillator generates the basic waveforms needed to create sounds. Oscillators can also be used to generate control signals for amplifiers, filters, pan/fade and more. Provides 5 waveforms simultaneously, linear FM, exponential FM, hard sync, pulse width modulation, range selection and fine frequency tuning.

1 Q107 State Variable Filter
State Variable Filter providing Low Pass, High Pass, Notch, and Band Pass. Used to alter the harmonic content of waveforms. Includes voltage controlled resonance (Q) with a reversable attenuator, attenuatable frequency control, 1V/Octave frequency control, and a 2 channel mixer.

2 Q108 Amplifiers
Used to control the amplitude of an audio or control signal. Linear and exponential responses, dual control and signal inputs, and normal and inverted outputs.

2) Q109 Envelope Generators
Creates envelopes that are used to control filters, amplifiers, oscillators, etc. Attack, decay, sustain, release controls, manual triggering, LED output indicator. Can also be used as a gate delay.

1 Q110 Noise Source
Source of random signals used to create sounds such as thunder, drums, etc. and to create random control signals. White, pink, and low frequency random outputs with amplitude controls.

1 Q112 4-Channel Mixer
Up to 4 signals are mixed together. Manual attenuation of 2 inputs

1 Q116 Ring Modulator
Creates unusual sounds by multiplying 2 signals. Used for gong, bell, and many strange sounds.

1 Q117 Sample & Hold
Samples and holds a signal's voltage level constant - basically an analog memory. Output signals are normally used to control other modules. Often used in conjunction with the Q110 Noise module, or with an oscillator to create stairstep patterns.

1 Q124 Multiples
Provides for patching multiple signals. 12 total jacks in 3 groups of 4. 2 groups can be connected by a switch.

1 Q125 Signal Processor
Multifunction module provides signal inversion, attenuation, amplification, and adjustable voltage source.

1 Q118 Instrument Interface
Receives inputs from external devices such as guitars, microphones, drum triggers, etc. Amplifies then creates an envelope signal, gate signal, and trigger signal for use in processing by other modules.

1 Q137 Power Control/Interface
Controls the internal power supply and provides entry and exit connectors for AC and DC voltages.

Cables
9 QP4MM-12 Patch Cables, 1/4" Plugs, 12"
11 QP4MM-24 Patch Cable, 1/4" Plugs, 24"
5 QP4MM-36 Patch Cable, 1/4" Plugs, 36"

30" x 24" x 12", 40 pounds."

New SSF Entity Bass Drum Synth Eurorack Module

SSF Entity Bass Drum Synth - Basic Kick Synthesis

Published on Jan 17, 2017 SteadyStateFate

"Examples of creating kick drums with the Steady State Fate Entity Bass Drum Synthesizer. This video shows some examples of how the controls are used to shape various kick drum sounds."

SSF Entity Bass Drum Synth -Feedback Distortion

Published on Jan 17, 2017 SteadyStateFate

"Demonstrating kick drum sounds using feedback of the output into the A-MIX (amplifier input). Use of a stackable cable or multiple is needed in order to feed the output back into the Entity and into an output module or recording device. This configuration is capable of producing extreme distortion and self oscillation."

Update: New video on controls added:

SSF Entity Bass Drum Synth - Controls

Published on Jan 17, 2017 SteadyStateFate

"Overview of the sound shaping controls on the Entity BDS. This video highlights most of the control knobs and functions for basic kick drum synthesis."

via Steady State Fate

"Bass and Drum Synthesizer Voice

The Entity Bass Drum is a complete and versatile synthesizer voice geared for designing a huge array of bass drum, percussive and synth sounds. Finally, a truly deep tool for creating analog bass drum, bass lines and other percussive effects is here!

The design consists of a high fidelity resonant filter, 2 stage slope generator (rise/fall) with independent slope shaping, a high fidelity VCA and discrete transistor saturation circuitry. Every parameter on the Entity Bass drum is voltage controllable.

By applying a trigger of any length and at least 2V amplitude, we excite the resonant filter to produce a percussive sine wave. The pitch control tunes the output with a range of 8Hz to around 2.2KHz. Both higher and lower levels are achievable using the FM input for modulation etc. The internal filter will track 3-4 octaves reliably and the tracking device is temperature compensated.

The slope generator (ENV) can be switched into the circuit via the 3 way switch below the FM LVL control. This control is a bipolar attenuator which affects the level of the slope generator and/or external modulator that affects the pitch of the output.
The 3 way switch selects FM, FM+ENV or just ENV as a mod source.

The rise/fall envelope is a two stage function generator. The controls provide slope timing from 1ms to about a minute. To the right of these controls is the shaping section where logarithmic, linear and exponential slope shapes are selected independently for the two envelope stages.
The envelope is designed to re-trigger at a set point. This allows for changing dynamics to occur to pitch and amplitude when the slope times are greater than the output transient time. For instance the sound can vary between any number of triggers that fire before the envelope set point is reached. Setting the slope time fast enough (below roughly 1 o'clock) provides for nominal operation. Settings will vary depending on trigger and ring decay timing.
The envelope can also be used exclusively or in a more complex patch via a direct +ENV output. Additionally, a novel DUCK output provides a means to control external VCAs - to work like slow compressors. DUCK is an inverted and positively offset version of the +ENV out. This keeps VCAs open when the envelope is off and effectively 'ducks' the VCA when the envelope fires. Of course, mod sources for these outputs are not limited to VCAs...

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Circuit Bent Modular Casio SK-1

images via this auction. via Xavier. Note the auction is over. Don't miss the video below.

"Internal Signal Routing
The SK-1 has 4 voices and percussion. Each voice is made up from an audio signal and an envelope control signal, which are combined to give the end voice. This module allows you to switch on or off any of the 4 voice audio paths, any of the 4 envelope control signals and the percussion. The patch panel then lets you have for instance, voice 2 under the envelope control for voice 4. You can then patch the percussion audio into the envelope control for one of the voices, which gives sustain effects or patch it into the audio signal and it gates the percussion with the keys, so the percussion sounds only while a certain voice is active. You can even swap the audio and envelope control signals over, which gives a buzzing / click type noise when you press a key.

Audio Filters / Level
This module modifies the filters where the envelope control signal and the audio signal are combined to make the end voice. The knob is in 2 stages where it controls the level of the audio signal, but keep turning it and it then affects the filter. The control will take the tone and ‘squash’ it so for instance the bass line in the demo song, rather than a contiuous note turns into a blip, or stacatto effect. Very hard to describe but appears in the video at 2:28 sounds a bit like it is playing backwards. There is a knob for each of the 4 channels, and another knob for patching. The patch knob connects to 2 patch points, the idea is that one side connects to anywhere on the signal routing module, and the other goes off to the main patch panel allowing all the digital signals to be combined with the audio ones. In the video it is applied to the bass line and removed at 2:09 which gave it a ‘metalic’ twang, but that just depends where you plug the patch cables in.

Outputs
This module brings all the 4 voices and percussion sounds and a video signal to the outside world. The SK-1 has lots of low pass filters / anti-aliasing filters inside before the final sound reaches the speaker / rear connector jack. The connectors on the top are pure unfiltered audio, which sound much brighter and if you are lucky enough to have a good mixing desk you can add your own EQ / FX to each voice. Likewise Casio have heavily attenuated the bass audio in the accompiamnents but now you just take it at any level you want from channel 3.

Pitch and Video
This module gives overall pitch control for the SK-1 and deals with video generation. The pitch control raises the pitch and has it’s own on / off control. The video control is on/off and contrast, plus a patch input. If you patch a signal from the main patch panel, it combines it with the video ouput giving a range of displays. It also alters the sound when patched in, as the data signals are now going through video circuitry it creates glitchy patterns, weird notes etc.

Patch Panel
This is the core for all SK-1 circuit bends, a lot of bent SK-1’s have a load of switches attached, the switches all connect to the RAM and ROM inside the keyboard to alter the sound. Here there are no switches, it is up to you to patch a wire across or use the bend sequencer. The patch panel has 25 connection and it mirrors the RAM and ROM address bus and data bus, plus a few other signals. You can link 2 or 3 points out directly, wire them across to the signal routing patch panel or sequence them.

Bend Sequencer
This allows you to automate the patch panel. When switched on, each LED lights in turn, and the patch connector below each LED becomes active. If you connect any of these to the patch panel, when the LED lights up it energises the patch panel switching the bend on and off. Depending on how many of the 10 auto bends and where you put them, you can have gentle modulations to the sound ( at the end of the clip there are some block chords with a gentle auto bend applied ), or severe random noise mayhem. Sadly I can only have 10 minutes on youtube and I no where near demonstrated what this is capable of, I just fiddled with it a bit!


Modular Casio SK-1 Circuit Bent by Oceanus

YouTube via xd515.
"Here is a Casio SK-1 comprehensively bent into a fully modular synthesizer. Includes bend sequencer, whole control of all internal audio and envelope control routing, video output, each audio channel output, percussion output. Sadly in a 10 minute video you can only show a fraction of what this can do :-("

Steiner Synthacon VCF

Peng recently posted a Steiner Synthacon VCF for sale on AH. I asked him if he wanted me to put up a post and if so how long the images and samples would remain on the page. He gave me the go ahead to back everything up and put up a post, so here it is. You can find his contact info if you are interested in picking it up on his page. If the page is gone it's probably sold. Images saved here.

Stiener / Synthacon VCF
Built using a CGS35 pcb and a pcb designed and etched by me. This extra pcb adds an AP input with Wet / Dry control,
Bipolar FM input, and normal / inverting LP, BP, and HP input attenuators
Front Panel Express MOTM size and layout panel
Bourns and Spectrol pots
Sheilded cable for audio inputs

This VCF has a lot of charactor and many faces
Responses range from sweet coloring to extreme distortion
Using the AP input and Dry/Wet knob it can produce phaser-like sounds
Price: $250.00

Controls
FREQ - manual cutoff frequency
RES - Resonance control (sometimes called Emphasis). Turned fully clockwise the filter will oscillate
AP MIX - This control mixes between the Dry signal presented at the AP IN jack and the filtered signal. At the right settings you get phasing sounds.
HP IN, BP IN, and LP IN - controls the level and polarity of the input signal(s).
FM1 - bipolar (level and polarity) control for FM1 signal,
FM2 - level control for FM2 signal.

Inputs and Output
The four audio IN jacks (LP,BP,HP,and AP) can be used simultaneously. A spectral mixer. That is one of a handful of things that make this filter special.
AP IN - the signal presented here is routed to four places after it is buffered: The Dry side of the AP MIX pot, and the normalled lug of the LP, BP, and HP IN jacks.
Plugging into any of these jacks will disconnect the AP IN signal from getting to that input. A huge variety of sounds can be produced by plugging different VCOs into the seperate filter input stages.
LP IN - audio input for LP stage of filter.
BP IN - audio input for BP stage of filter.
HP IN - audio input for HP stage of filter.
1V/OCT - CV input for control of cutoff frequency. Commonly used for keyboard tracking. This is not exactly 1V/OCT! the filter will oscillate with the RES cranked but will not acurately track the keyboard. See the sound sample below.
FM1 IN - CV input for control of cutoff frequency.
FM2 IN - CV input for control of cutoff frequency.
OUT - Final output.

Important Notes
I could have ironed out some more of this filter's quirks, but I find that these quirks contribute a lot to the VCF's charactor.
I wanted to keep it as pure to the original design as possible.
Be forewarned, this design behaves very different than most VCFs you may be familiar with.
There's nothing else like it.

The output signal range is huge. Cranking up the input attenuators and RES level results in a large signal (I measured a little over +/-10V!). At certain mixes of the AP MIX pot and phase reversed input levels, the signal is well below +/-5V (assuming +/-5V input signals are used). You'll have to whip or tame this beast with an external mixer. Most times this is a nonissue since a VCA and/or mixer will commonly follow a VCF in the signal chain.

In the original design, turning the RES control would result in audible scratchiness. Once set the scatchiness disappears but using it a performance control was a no go. This has been improved greatly by adding a cap across the RES pot. Now it can be used while playing but the scatchiness is not completely gone. It is lessened by maybe 90% from how it used to be but, in some cases, can still be detected. This is not from a bad pot (I tried a half dozen different types)! It is a product of the circuit itself. It's nearly a nonissue but still, you should know.

High settings of inputs and RES will lead to unusual and downright unpredictable behavior. Not a bad thing IMO.

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Pittsburgh Modular A Filter of Crows, Dynamics Controller Bat, & The Wolf Eurorack Modules

Pittsburgh Modular A Filter of Crows Eurorack Module Lab


Pittsburgh Modular Dynamics Controller Bat Eurorack Module Lab


Pittsburgh Modular The Wolf Eurorack Module Lab

video upload by Pittsburgh Modular Synthesizers

A Filter of Crows
Our classic Pittsburgh Filter pushed to the limits. The overdrive preamp from original Crow module paired with switchable filter response, resonance instability mode, and voltage control over both frequency and resonance. A Filter of Crows can be both menacing and subtle with a massive sonic palette. Shifting from buttery smooth sweeps to punishing, overdriven noise without ever sounding harsh or uncomfortable. This is the most interesting variant of the Pittsburgh Filter we have created.

A Filter of Crows is a unique filter module that builds on the concept of the highly sought-after Safari Series #1 module, 'Crow'. It combines three Pittsburgh-designed 100% analog technologies.

Ultra-high-gain preamp:
The first is an ultra-high-gain preamp circuit. The preamp, taken directly from the original Crow offers a unique up to 75x of variable gain overdrive. This circuit provides unmatched dimensions of overdrive without sounding harsh. Additionally, the circuit can be completely bypassed to allow for a completely clean exploration of the other aspects of the module.

PGH Filter:
Next is a 12db State Variable 'no-dead-spot' Filter, The classic PGH Filter with manually selectable and stackable filter responses. Lowpass, bandpass, and highpass filter responses can be enabled or disabled individually for instant parallel processing.

The PGH filter has been continually refined over the last 12 years of research and altered to fit the demands of each system that it has been a part of. One of its unique defining characteristics is its ability to offer a complete sweepable range without any noticeable dead spots. Dead spots are uneven / muted portions of the swept range due to non-linearities in the circuitry. The PGH filter has no noticeable dead spots and is voiced to interact well with the high-gain preamp circuit. The result is a rich, even, fully sweepable range.

Resonant Stability Circuit:
Lastly is Pittsburgh’s Resonant Stability Circuit. This circuit enables the PGH filter to provide near-infinite resonance without slipping into self-oscillation, unless the user wants it to. Set to stable, Crows will not self-oscillate. It operates as a clean, organic filter. Set to unstable mode, the character of Crows changes dramatically. At normal settings, the incoming signal modulates the self-oscillating filter to produce harmonically complex sounds. In more extreme settings, Crows will start to struggle with controlling the oscillating resonance, adjusting the resonance shifts from ringing fuzz to heavy distortion to an extremely musical total failure."

Dynamics Controller Bat
Both a resonant filter and a VCA, the Pittsburgh Modular Dynamics Controller Bat is a modern re-interpretation of Don Buchla’s famous 'lopass' gate. The original lowpass gate was limited to a static response time that varied from unit to unit. For better or worse, this made each lowpass gate a little different. The Dynamics Controller Bat solves this issue and expands on the original concept by adding a unique voltage controllable response curve and variable resonance to the lowpass gate. Nothing has more depth, sounds more natural, or feels more alive than the our Dynamics Controller. Not only is this module unique in the world of modular synthesis, it sounds amazing.

Both a resonant filter and a VCA, the Pittsburgh Modular Dynamics Controller Bat is a modern reinterpretation of Don Buchla’s famous 'lowpass' gate.

Unlike a VCA, which simply changes the loudness of the sound without modifying the harmonic content, the lowpass gate circuit uniquely simulates the characteristics of how sounds interact in natural environments.

When used in lowpass gate mode, louder sounds contain more harmonic content and quieter sounds contain less harmonic content. The result is a more organic, complex, and rounded sound.

Don Buchla’s original lowpass gate (LPG) was limited to a static response time that varied from unit to unit. For better or worse, this made each lowpass gate a little different. Pittsburgh’s research that has made its way into the Dynamics Controller Bat solves this issue. It modernizes Don Buchla's concept by adding a unique voltage controllable response curve and variable resonance to the lowpass gate. This allows for all the sonic depth of the LPG while providing the same kind of sustain control offered by a more traditional VCA. The resulting Pittsburgh innovation is the best of both worlds, natural and alive sound, that's completely controllable."

The Wolf Channel Strip VCA
The idea was to design a VCA that makes everything sound better. Through the use of a custom Wolf preamp circuit, parametric EQ, and a high quality, linear VCA, The Wolf adds depth and presence to any patch. A custom preamplifier with variable gain control shifts between .5x and 7x gain followed by a soft clipping limiter. Results range from fully transparent to warm saturation to overdrive depending on how hard it is pushed. A three stage, 15db EQ pairs sweeping low and mid range channels with a fixed frequency high shelf followed by a second soft clipping limiter identical to the one in the preamp to keep it smooth. Green, Yellow, and Red LEDs are both fun and informative! Located after the EQ and before the VCA in the signal path, the LEDs offer insight into the audio signal.

The Wolf is a Channel Strip VCA designed to improve and provide more control over any input source. It does this through another three unique circuits.

Wolf Preamp
The Wolf’s Preamp is a custom preamplifier with variable gain control shifts between .5x and 7x gain followed by a soft-clipping limiter. The soft-clipping limiter is a way to control the amplitude of the signal while avoiding harsh distortion. Depending on how hard it is pushed, the results of running a signal through this circuit range from fully transparent to warm saturation to overdrive.

Wolf three-stage Semi-Parametric 15db EQ
The Wolf also has a three-stage Semi-Parametric 15db EQ featuring sweeping low and mid-range channels, as well as a fixed frequency high shelf. The EQ section is followed by an additional soft-clipping limiter identical to the one in the preamp. This evens out the signal keeping the audio sounding smooth.

Wolf VCA
The Wolf’s VCA is a low noise, high quality, linear voltage controlled amplifier with both manual level and CV attenuator controls.

Metering
No channel Strip would be complete without metering. Wolf’s LED Meter provides Green, Yellow, and Red LEDs for fun and informative listening. Located after the EQ and before the VCA in the signal path, the LEDs offer useful insight into the audio signal."

Price, Availability, and More Information The retail price for the A Filter of Crows, Dynamics Controller Bat, and The Wolf Channel Strip VCA is $249 USD each. Because these modules are considered experiments, production has been limited to 200 A Filter of Crows, 250 Dynamics Controller Bat, and 200 The Wolf Channel Strip VCA modules. The modules are available now through the Pittsburgh Modular web shop. More information regarding the A Filter of Crows, Dynamics Controller Bat, and The Wolf Channel Strip VCA Eurorack Modules is available at pittsburghmodular.com/safari.