Sequential Trigon-6 Sonic Deep Dive – Daniel Fisher

video upload by Sweetwater

Be sure to see the dealers on the right for availability.

"Nearly 50 years of heritage design and analog expertise have been distilled into the superlative circuitry of Sequential’s groundbreaking new polyphonic 6-voice synthesizer: the Trigon-6. Historic synthesis is masterfully blended with modern sonic possibilities to create a forward-looking instrument that won’t compromise on vintage character. Join Sweetwater’s premier synthesist, Daniel Fisher, to explore this polyphonic powerhouse. Check it out!"

0:00 – Intro
1:04 – Trigon-6 Oscillators
5:17 – Trigon-6 Noise Source
5:34 – OSC 3 as Modulator
8:51 – Trigon-6 Oscillator Sync
10:28 – Trigon-6 Vintage Knob
11:18 – Pan Spread
12:03 – Program Volume
12:18 – Pitch Wheel Range
12:37 – Trigon-6 Key Modes
13:10 – Trigon-6 Glide
15:17 – Hold Button
15:49 – Trigon-6 LFO
18:54 – Trigon-6 Polymod
20:17 – Trigon-6 Aftertouch
21:49 – Trigon-6 Filter
28:39 – Trigon-6 Amp Envelope
29:21 – Feedback, Drive, and Distortion
33:02 – Trigon-6 Arpeggiator
35:06 – Trigon-6 Sequencer
36:08 – Trigon-6 Effects
42:13 – Thanks for Watching!

'Filter on Filter' Jam: Ladder into Fixed Filter Bank 914 & Lunar Module 'Bit-crushing' Drum Sounds

video upload by AJH Synth Official

"Minimal Synth & Percussion Jam: 3 VCO's into Ladder Filter, then Fixed Filter Bank 914, with DH-ADSR envelope control over mix of both filters. Also down-sampling/bit-reduction effect using the Lunar Module to crunch then distort incoming audio/drum pattern from an iOS app (Patterning 1).

The classic Moog Modular-based Fixed Filter Bank 914 totally transforms the sonic character of the output from the Minimoog-based 24dB low pass VCF, creating a vocal/choir timbre, which is fed 3 sawtooth waves, each with their own LFO/modulation. The envelope automates the FFB module's built-in mixer, morphing the sound from just the Ladder VCF, to the Ladder through the Fixed Filter Bank. The Lunar Module is great for taking a too-hi-fi sound and giving it some lo-fi character, with optional crunchy distortion, making it sit more comfortably alongside it's analogue Eurorack neighbours. Old-school, vintage-voiced sounds and circuitry FTW.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires"

'Pan Flute' - How to make this movie-inspired, all-analog Synth Patch in Eurorack Modular

video upload by AJH Synth Official

"This was loosely inspired by the 'pan flute' sound from the film 'Aguirre: Wrath of God', and uses a single VCO, white noise, and envelope-controlled filtering to simulate the pipe and breath elements that form the sound. Fixed Filter Bank sculpts the noise, removing low frequencies and pushing selected highs, before being mixed into the Sonic XV's bandpass filter along with the square wave from the VCO. Importantly, the FFB's wet/dry mix is also controlled by an envelope here, a rare feature on a filter bank. Pulse width modulation from red noise ads a subtle distortion to the oscillator, and the VCA in the Dual LFO is used to ad optional pitch vibrato and VCF frequency modulation.
Patch sheet PDF: https://kvisit.com/8AE/_v8G

Aside from the flute scene (see link in video), the movie soundtrack was mostly the brilliant work of Popul Vuh, and makes the official album release worth listening to regardless of the movie, with memorable use of Mellotron. However, the Werner Herzog movie itself is equally brilliant and memorable, a captivating, immersive experience to watch, made on an unimaginably small budget, yet a direct influence on Coppola's 'Apocalypse Now' a few years later.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires

PATCH NOTES:
------------------------
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions. Multiple cables may branch to different destinations, this is where some form of multiple should be used.
This patch needs a lot of fine-tuning, so precise pot positions cannot possibly be illustrated, but this should serve as a starting point, from where further experimentation should be applied. The video tries to explain what is happening with the core modules, which should make it easier to understand what needs fine-tuning.
KEYBOARD: Here the controller's MOD output is used to send Aftertouch, but alternatively Velocity, or direct control from the MOD wheel/strip could be sent to the Dual LFO's CV input instead, depending on your controller and personal preference. DUAL LFO: Output goes directly to EXP-CV of the VCO, and IN 1 of the CV MIX.
CV MIX: This module is used here to combine the CV from the LFO and Contour Generator 1, then to fine-tune it, before sending to Sonic XV and Fixed Filter Bank.
FIXED FILTER BANK 914: The IN 2 pot needs to be at zero - this sets the Dry level to zero if nothing is connected to the IN 2 socket, so that when the envelope changes the Wet/Dry level it is in fact affecting the output level of the module, as only a varying portion of the Wet signal is then sent to the Muting Mixer.
Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO, Sonic XV, Contour Generators, Discrete Cascaded VCA, Dual LFO + VCA, CV Mix, Muting Mixer, Fixed Filter Bank 914."

'Sonic X-Voice' - Human Vocal Patch from our Klaus Schulze Tribute video with Sonic XV Eurorack VCF

video upload by AJH Synth Official

"This Patch of The Week shows how the vocal sound was created that featured in the Klaus Schulze tribute video. It uses the Sonic XV Diode Transistor Ladder Filter for both it's band pass filter, and it's built-in wave folder. Patch sheet at the end of video, plus a download link for a PDF version with notes further down the page. Musical Tribute to Klaus Schulze: https://youtu.be/VA-Io4jVKbA

The Sonic XV is a surprisingly flexible multimode VCF - it can do the kind of aggressive, screaming resonance chaos that you'd expect from some of the famous diode filter-wielding synths of the past, but it's also particularly good at softer, delicate sounds, and having a well-featured wave folder on board gives it a much wider scope for tone-shaping. This, coupled with it's fast response, and simultaneous band pass, 6dB and 24dB low pass outputs, makes it a great choice for fast melodic sequences and percussion sounds. It's character is significantly different than that of the Minimoog-based Transistor Ladder Filter, and compliments it nicely, even if only used for it's wave folder to feed other VCF's. Sonic Wave Folder & Sequencer: https://youtu.be/pJUb-ZEddqQ

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by @DreamsOfWires

Patch sheet with notes: https://kvisit.com/8AE/x_8G

Patch notes:
--------------------
Green dots show approximate pot and switch positions. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
DH-ADSR: As we are using the inverted output here, it will constantly be sending a +8V signal to the LIN-CV of the VCO (therefore raising it's frequency/pitch) until it receives a gate signal, at which point it will follow the envelope settings, starting from an output of 0V. This is why the VCO will need re-tuning to match other instruments used, but preferably after you are happy with the amount of envelope to pitch influence you have dialled in. Dual LFO: The Tap Tempo VC-LFO module could also be used here in the same way, as it also has a built-in VCA (level control). Sonic XV: Small differences in wave folder settings can make a big difference to the sound, so it'll probably require some fine-tweaking to get the ideal timbre. I have added some resonance in this version, as it can help to simulate the tone of a human voice, but this is of course subjective - all voices are different. Band pass is definitely the best filter type to use, as it can remove both high and low frequencies that would be beyond those produced by a human voice. Modules used from left to right: DH-ADSR Envelope, Dual LFO + VCA, Vintage Transistor Core VCO, Sonic XV Diode Filter, Contour Generators, Discrete Cascaded VCA."

'Für Klaus' - Tribute to Klaus Schulze, a Eurorack Modular Performance #eurorack #synth #ajhsynth

video upload by AJH Synth Official

"On this channel Sunday 8th @7pm GMT - a 13-minute track recorded as a single-take performance, and a purpose-made tribute/dedication to the late Klaus Schulze. The piece is inspired by his music directly, creating some sounds akin to those he used in the late 1970's, even including one of his sequences. Much of it was composed and rehearsed, whilst some of it was improvised, but I suspect much less so than Schulze's works, which were often much longer, involving more improvisation and more instruments. This piece consists of just three voices across 4 audio tracks/channels, altered or converted in real-time during the performance to achieve different sounds.

As a creator of electronic music, Schulze was one of the most significant influences for me (the video creator). His music, his attitude towards it in the interviews I read of his, and the way he worked alone to create dense, fascinating, complete musical performances and soundscapes, at a time when the technology was in it's infancy, and before later technologies such as complex computer sequencing, sound creation, processing and mixing were available. As a solitary musician, his was a great, empowering example. His bravery to improvise, experiment, and co-exist with imperfections, embracing them rather than fearing them, makes me warm to the artist and the music even more. Schulze used, among others, an early Minimoog (leads) and a large Moog modular system, which he customised with additional modules over the following years. Since the core AJH MiniMod system is directly based on the early, more desirable R.A.Moog version of the Minimoog, yet is entirely modular, it makes a great choice for this homage to one of electronic music's greatest pioneers.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.

Video by DreamsOfWires

Modules used:
Vintage Transistor Core VCO x6
Transistor Ladder Filter
Gemini 2412 Dual State-variable VCF
Wave Swarm
Ring SM
Glide + Noise MkII x2
Next Phase
Dual RVG
Tap Tempo VC-LFO
Sonic XV Diode Ladder Filter
Contour Generators x2
Muting Mixer
Dual LFO + VCA
Discrete Cascaded VCA x3"

How your synth would sound in the post-apocalypse [Fairfield Circuitry Roger That]

video upload by Jameson Nathan Jones

"Fairfield Circuitry sent me their new pedal, Roger That to check out, and it's really......something. After the initial shock and urge to burry it in my backyard wore off, I started to think of actual ways I could tame it. The results were surprising (hint: a Moog Matriarch always helps).

FREE Basics of Synthesis Workshop:
https://bit.ly/SubtraciveSynthWorkshop

0:00 - initial excitement/surprise
0:50 - oh ok
1:48 - feature explanation and raw sounds
6:37 - today's setup
8:48 - taming it with Matriarch
10:38 - arps with bad reception
12:57 - stereo filter sweeps with bad reception
13:53 - pad swells with....well, you know"

Fairfield Circuitry Roger That

video upload by Matt Lowery

"An exploration of Fairfield Circuitry's newest release: Roger That. Roger That is a crazy little modulator/demodulator pedal that can be subtle or can tear a hole in the fabric of the universe.

HEALTH DISCLAIMER: This demo gets pretty loud and will expose you to some intense upper-spectrum audio. Please listen at a safe and reasonable volume and take breaks if needed."

See the dealers on the right for availability.

"Fully embracing sputtery and bizarre artifacts, Fairfield Circuitry's Roger That is a distortion pedal inspired by FM radio transmitters and receivers—and all of the noise that comes along with them. The core of Roger That is a simple JFET preamp, but by then including an FM modulator and demodulator circuit, the pedal becomes an interactive sonic playground with a wide range of sounds to be uncovered in every corner. The basic controls include Dry and Wet levels, Drive for the preamp circuit, and a Tune control for dialing in the FM character. Roger That is highly responsive to audio input, so different sources will yield very different results. For more variety you can explore Shift to destablize the tracking of Tune, select between two different Tuning ranges via the R switch, or apply a bandpass filter with F. Tune also features a CV input to be externally controlled by modular synthesizers or other control voltage sources. Get into the noisier side of life with Fairfield's Roger That.

ROGER THAT FEATURES

Distortion pedal inspired by FM radio
Dry and Wet signal level controls
Drive for JFET preamp
Tune control sweeps through frequencies of internal FM modulator/demodulator scheme
Shift modifies the accuracy of tuning
Extended Tune range available via R switch
Voice filter applied with F—bandpass filter from 300Hz-3kHz
CV input for Tune"

Physical Synthesis Cicada Acoustic Vibration Synthesizer & Nymph Eurorack Module Update

video upload by Physical Synthesis



You might remember the Physical Synthesis Cicada - Acoustic Vibration Synthesizer posted back in April of 2021 - you'll find a playlist of demos there. The initial run was sold out. They are now teaming with USA-based distributor Electro Distro on a new run of Cicadas as well as a Nymph eurorack module.

The press release follows:

NEW YORK, NY, USA: having sold out of its initial production run, unique products-producing hardware startup Physical Synthesis is proud to announce that it is working with San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) to bring its game-changing Cicada — an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound — to a wider audience in advance of Nymph, its upcoming Eurorack module…

It is fair to say that every once in a while, a moment comes along whereby human interaction with sound changes completely. Cicada is effectively one of those moments — one of those new instruments that moves the needle in music technology. Indeed, it is pioneered by unique products-producing hardware startup Physical Synthesis as an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound. Says company founder Spencer Topel: “Cicada was the first step in introducing physical synthesis methods to the synth community; it is an award-winning interface that really lets musicians explore microscopic sounds with precise control.” Clearly, Cicada made musical waves when winning the Judge’s Special Award at the Guthman Musical Instrument Competition 2022, hosted by Georgia Tech School of Music — one of the few schools in North America that offers Music Technology as a major in undergraduate, graduate, and Ph.D levels of study — as an annual event dedicated to identifying the newest and greatest ideas in music.

Musical waves notwithstanding, ‘noise' is a subjective term; while electromechanical devices like speakers or headphones try to minimise the distortion inevitably introduced in physical systems, Cicada is designed to precisely exploit these distortion products as the basis of a new kind of synthesis. Cicada converts voltages to vibrations in a mechanical oscillator to create intermodulation — the addition of frequency content in a nonlinear system — in place of typical analogue or digital oscillators. By bringing the signal chain into a physical space, Cicada allows users to shape such content with natural, tactile gestures that truly transcend twiddling with a knob or pushing a slider. “As a violinist and composer, my experience of creating sound is highly physical,” proclaims Spencer Topel, adding: “With Cicada, I wanted to make an instrument that connects these elements, allowing musicians to produce complex, compelling sounds, but through tactile interaction.”

Insofar as actually doing what it does, Cicada receives two Eurorack-level signals that drive oscillation in a cantilevered Bridge positioned atop a Soundboard at an adjustable height. Digging deeper, distortion caused by the Bridge-Soundboard interaction adds frequency content to the input, determined by the specific qualities of the system. Self-explanatory Polycarbonate Soundboard, Foam Soundboard — made of EVA (Ethylene-Vinyl Acetate) foam, and Wood Soundboard — made of Birdseye maple — options each provide a range of resonating/filtering properties that combine uniquely with the likes of the Coral Wing Bridge — tip made of solid oak (resulting in a bright, clear tone), Coral Dual Tip Wing Bridge — tip made of premium rubber (allowing for a hard, precise attack with a balanced low-end), and Grey Wing Bridge — tip made of soft neoprene foam (resulting in a mellow, balanced acoustic effect); each pairing opens up a portal to a distinct sonic universe.

Users can dynamically change the system (and, therefore, how it is transforming signals) by adjusting the Bridge height, changing the region and degree of contact between Bridge and Soundboard, or applying pressure to either — effecting real-time, tactile timbral control, in other words. With that being said, premium vibration damping materials, such as Delrin, and custom circuitry minimise unwanted noise, allowing the intermodulation products to shine, while the output, captured by a pickup microphone positioned beneath the Soundboard, can be monitored directly, processed modularly, or recorded into a DAW (Digital Audio Workstation).

With behaviours akin to those exhibited by a traditional acoustic instrument, Cicada is highly responsive to differences in the excitation mechanism — the input signal, in other words. As an example, striking a snare drum with a stick or using it with brushes produce vastly different-sounding results; driving Cicada with quiet or loud, spectrally simple or complex, or bass- or treble-heavy signals similarly yield very different timbres.

Though Cicada is designed to work with a Eurorack setup out of the box, one of its strengths lies in its inherent flexibility. Indeed, it can just as easily receive signals from a DAW, boosted to the appropriate 5-10Vpp level via an outboard mixer. Moreover, the choice of input is completely left open to the user: an Ableton Live loop run through Cicada acting as a physical filter to provide timbral variety over time, for example; an LFO (Low Frequency Oscillator) from a Eurorack module, generating rich percussive tones on the maple Soundboard as the foundation of a beat; or a harmonically dense signal — similar to the output of a Max/MSP FM patch (which many would, without doubt, prefer to navigate physically rather than digitally) — made by moving the Bridge around the Soundboard to amplify certain harmonics and suppress others, finding a grittier sound with the Bridge barely touching or coaxing a more ethereal tone with it centred and depressed.

Endless exploration possibilities are a given, guaranteeing that any sonically-ambitious Cicada user is likely to while away the hours playing with input signals, system configurations, gestures, modulation combinations, and more.

It is hardly surprising, then, that Physical Synthesis sold out of its initial Cicada production run, really hitting a home run by counting luminaries like renowned electronic music composer and performer Hainbach — citing Cicada as being “The Tesla of electro-acoustic workstations, miles ahead of standard piezo and solenoid boxes...” — and Ableton CEO Gerhard Behles amongst its fan base, and has now turned to working with US-based distributor Electro Distro’s growing global network of dealers to bring its game-changing ‘acoustic synthesizer’ to a wider audience. “I want to bring acoustic synthesis to a wider range of musicians,” maintains Spencer Topel, before ending on a high note: “We are building some really exciting expansions of Cicada to different formats, including a Eurorack module called Nymph, which is coming soon.”

Physical Synthesis’ ‘acoustic synthesizer’ is now available as Cicada Founders Edition Extended — encompassing two dual AMPs, one PRE, one Actuator, five Bridges, three Soundboards, three Meanwell power supplies, three custom SATA Cables, and one custom Nanuk 935 Flight Case — for $2,700.00 USD or as Cicada Pro Series individual modules — starting at $79.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly from Physical Synthesis’ online Shop (https://shop.physical-synthesis.com).

For more in-depth information, please visit the dedicated Cicada webpage here: https://www.physical-synthesis.com

Open Source Critter & Guitari 201 Musical Synthesizer - Kickstarter!

video upload by

via Kickstarter

"We’re Critter & Guitari and we’re happy to announce our newest synthesizer: the 201! If you’re familiar with our other musical instruments such as the Pocket Piano, Organelle, Bolsa Bass, or Kaleidoloop, we hope you’ll see that the 201 fits right in with them: the 201 is fun, portable, and packed with a medley of musical magic!

The 201 is nearly pocket size, but don't let its small size fool you! Under the hood is some powerful circuitry that will allow you to explore your musical ideas quickly and easily. Let's take a look...

Sounds

At the heart of the 201 are six sound engines providing a wide range of sonic texture. Use the shift key to select an engine.

There is a little bit of everything: chiptune style waveforms, analog style filters, drum samples, realistic physical instrument models, and even a human vocal synthesizer.

Use the three center control knobs to further explore the sounds. Dial in the right amount of sustain, or adjust the tone. Or turn the 'surprise' knob if you are brave:

Patterns

Play directly on the keyboard or turn on one of the pattern generators. From simple octave arpeggiation to randomizing polyphonic patterns you will be inspired by the notes coming out of the 201! Use the first control knob to set the pattern's tempo.

The pattern generators also work great for creating drum beats using the drum samples!

Sequencer

If you like the way something sounds, recording it is just a button press away!

There is a handy metronome that you can play/record along with. When the sequence is playing back you can endlessly change the pattern and synth engine. When you get it just right, hit the save button. You can save 'unlimited' sequences (well... not really unlimited, but many thousands).

Connectable

The 201 wants to be friends with all your other gear! It works great with guitar effects pedals and amps.

With MIDI in and out you can control other synthesizers with the 201, or the other way around.

A USB-C connector lets you easily move files on and off the instrument.

Open Source

Critter & Guitari is committed to making musical electronics that are open platforms. Like our Organelle and EYESY instruments, the 201 is built entirely with Open Source software.

Inside, the 201 uses a combination of Pure Data and Faust musical programming environments. Users are invited to modify or create new sound engines!"

ACE TONE CANARY S-3 One of the few remaining units on the planet

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

via this auction

This appears to be the same one listed back in September. You can find a small handful of posts mentioning the Canary here. "One of the very few remaining Ace Tone Canary S-3 on the planet. Despite being a 60 years old machine, this unit works like a charm and it's in spectacular cosmetic conditions -- it looks much better than the unit exhibited at the Roland Museum, actually.

History Designed and built by Ikutaro Kakehashi (founder of Ace Tone, Roland and Boss) in 1962 during the Pre-Roland era, the Ace Tone Canary S-3 is an early monophonic synthesizer inspired by the Clavioline, a forerunner to the analog synthesizer invented in 1947, but implementing several technical improvements and revisions that make it a unique instrument. In 1964, Ikutaro Kakehashi decided to take the Canary S-3 along to the NAMM show in Chicago but, despite receiving interest, he did not receive any distribution deals. So the Canary S-3 ended up being distributed in Japan only and quickly became a rare instrument even at that time.

Sound When you listen to this machine, the reason of that unsuccessful mission at NAMM quickly stands out: the sound of the Canary S-3 had nothing to do with 60's music, it was not a simulation of classical instruments. The Canary S-3 sound was quite agressive, warm and extremely rich in armonics, totally in line with nowadays electronic music standards and so far away from the 60's vibes. It's pure electricity generated by military-grade germanium transistor oscillators and filters, a machine that can easily be used as main/only instrument in modern music productions.

Germanium Instead of using a vacuum tube oscillator as the Clavioline, the Canary S-3 implements a solid state circuitry totally based on germanium transistors. Widely implemented in vintage guitar fuzzboxes and amplification and exceptionally in synthesizer circuitry (such as the VCA section of the EMS VCS3/Synthi A), these transistors have a warmth and a granulity as pleasant as the tube sound, without being the same. The sonic grain of germanium is generally a bit rougher than the tube grain, and radically less flat and plain than classic silicon transistors. -- As far as I know the Canary S-3 is the only synthesizer ever built using germanium transistors as sound generators.

Architecture The Canary S-3 can be organized in 3 main sections: Sound Generator - Tone Color - Controls. The Sound Generator features 4 parallel octave dividers that output super fat saw waveforms in 4 different octaves (Bass - Tenor - Alto - Soprano) ranging from F0 to F4. Then the resulting waveform is passed through a germanium filter bank that separates the input signal into 5 components, each one carrying a frequency sub-band of the original signal. The 5 bands (obtained using HP and LP filters) are controlled by 5 combinable switches under the Tone Control section (1 - 2 - 3 - 4 - 5). The mix of the 4 Sound Generators and the 5 Tone Colors delivers a total of 496 different settings/sounds ranging from fat basses to rich organ and raw lead sounds. In addition to the main sounds the Canary S-3 features also two noise generators controlled by two unusual momentary push buttons designed to perform abstract rhythms in real time. The sounds can be modified using the knobs and the bizarre knee lever designed to perform volume variations in real time. The Control Section includes also two knobs for (pitch) Vibrato Speed and Depth, the global Tuning knob (+/- 2 semitones) and a master Volume knob used also tu on/off the instrument. Lastly there is the Rhythm Volume knob to set the volume of the two noises.

The Ace Tone Canary S-3 is undoubtedly a one-of-a-kind instrument, an amazing piece of retro tecnology, an avant-garde machine born six decades ago that still has something exclusive and unique to say."

CLICK FOR MORE »

Expanding the Mother 32 - Sub-octaves, wave multipliers & extra VCO's for chords & vintage fatness

video upload by AJH Synth Official

"Here are some ideas for expanding the sonic possibilities and fattening up the sound of the Moog Mother 32 analogue synth - We're sometimes contacted by customers who have, or want to add AJH Synth modules to theirs, as the Mother 32 has great connectivity for Eurorack integration, so hopefully this will video will show a little of what is possible. The Mother 32 has a single oscillator, so the most obvious choice would be to add more VCO's, in order to perform harmonies and simple chords, but also it doesn't have a sub-bass, or sub-octave generator, so this may also be worth considering. In this video we demonstrate both of these options, using the MiniMod Vintage Transistor Core VCO's, the Ring SM to generate sub-octaves and as a CP3 style mixer, but also the Wave Swarm to simulate multiple stacked sawtooth waves. We also use the Sample Hold & Slew to generate rhythmic, random filter modulation, the Precision Voltages as a convenient way to select precise octave and semitone pitch changes of VCO's, and use the V-Scale to address 1V/Oct scaling/tracking issues that may occur when using the Mother 32 to control external VCO's or other instruments via CV.

The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.

Index:
00:00 Introduction/Overview
00:53 Sub-octaves/sub-bass (Ring SM)
02:40 Sawtooth multiplication (Wave Swarm)
03:50 Ring SM as CP3 Input mixer
04:44 Using it with a sequencer
06:33 Sample & Hold filter mod
08:37 The need for the V-SCALE
09:09 Adding more VCO's
10:25 Using the Precision Voltages
11:19 Multiple VCO's & a sequencer

Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself: https://youtu.be/89bv0dI8yw4

Video by DreamsOfWires"

Knobcon 22: PWM Malevolent Now in US Stores

video upload by sonicstate

"We've looked at the PWM Malevolent synth here for Sonic LAB and enjoyed the character and grime of this new instrument.

Now PWM is officially launched in the US with distributors and are currently on the water, and will be in the stores in a week or so.

Malevolent is a two oscillator analog synth with some heavy drive circuitry made in conjunction with Finlay Shakespeare of Future Sound Systems, using a Sallen-Key filter.

Available soon at good US synthesizer retailers priced at $549"

Introducing drumlogue, the first hybrid drum machine from Korg

video upload by Korg

Update: two new user videos by Honeysmack and Marcus Schmahl added below.

"Combining the rich power of analog with the flexibility of digital, drumlogue provides the ultimate analog sound for your beats.

Featuring newly developed analog circuitry, drumlogue builds a solid foundation for your track; it also helps you stand out with an elevated harmonic richness and thick low end.

Important parameters for each part have dedicated controls on the front panel for quick and intuitive changes – without diving into menus. For even more creative potential, each part has a wealth of further parameters accessible through a powerful onboard editing suite. Even mixing is simple, with dedicated volume controls for the analogue and digital parts.

The track you hear in this video is by Dean Forrest"

Korg Drumlogue: New Hybrid Drum Machine - First Look- Just Sounds video upload by Korg Australia


New Korg Hybrid Drum Machine Drumlogue - Honeysmack's first encounter video upload by Honeysmack



"Get ready for a super nerd session, no talking just me tinkering with the Korg drumlogue for the very first time. Korg Australia were kind enough to give me a play with a sneak preview pre-production model of the drumlogue. Unfortunately I had no manual at the time, so please excuse me in advance. Hopefully this video provides some context to its sound. I feel this will be a winner for Korg, well done! Great sound, neat size, this could be a monster of a machine.

All the sounds and effects in this video are from the drumlogue, there are no external sounds or effects. Simple stereo output from the drum machine. No other drum machines were hurt in the making of this video.

0:00 Does this suit me? Oh what does this do?
2:23 Omph omph omph, ah I see, me likey the kick drum
5:59 Electro ratchets - why not take your time and build a track
9:30 Start with speed carnivale - exploring more latin percussion then I try to break the machine!"

Korg drumlogue drum machine & synthesizer demo - no talking - video upload by Marcus Schmahl

00:00 building drum sounds & a pattern
06:13 switching through preset patterns & sounds

Korg Drumlogue Sound Demo (no talking) video upload by Bonedo Synthesizers


Korg Drumlogue Sound Demo No Talking - no external effects or processing video upload by Limbic Bits


Korg DRUMLOGUE Review // Top Pros & Cons and All 64 Factory Patterns // Full Tutorial video upload by loopop


TIMELINE:
0:00 Intro
1:20 Overview
6:15 Connectivity
7:15 Sample parts
11:40 Analog parts
14:25 Multi engine
15:05 VPM
17:15 Noise
17:55 Nano
21:30 Sequencing
22:10 Live rec
22:50 Motion rec
24:45 Step seq
25:10 Groove
26:10 Probability
27:10 Ratchets
28:00 Ties
28:30 Motion seq
30:20 Shift buttons
31:00 Polymeters
31:35 Send FX
33:35 Master FX
34:45 Sidechain
36:25 Loop
37:10 Select
38:25 Randomize
39:00 Chains
39:35 Audio in and out
41:50 Misc settings
43:45 Pros & cons
49:10 All 64 patterns



Details and pics:

A paradigm shift in drum machines.

drumlogue marks a paradigm shift in drum machines. It offers the raw power and rich sounds of Analog, the flexibility of Digital voices, and drumlogue’s SDK for fully customizable User Custom Synthesizers.

On top of that, its heavy-duty, dynamic sequencer, customizable effects, and intuitive controls will make drumlogue a must-have in your studio to create music for any genre or style.

It’s time to take your beats and entire musical process to a whole new creative level with incredible sounds, effects, customization, and sequencing. Let drumlogue support your craft on your musical journey!

Raw Analog Power

drumlogue was conceived to provide the ultimate analog sound for your beats, and delivers fantastically; featuring completely newly developed analog circuits by legendary Korg analog synth team engineer Junichi Ikeuchi (ARP 2600 M, MS-20 mini, ARP Odyssey…) , the depth and richness of its sound is on a whole new level.

These new analog circuits - (Bass Drum, Snare Drum, Low Tom and High Tom) - will not just provide a solid foundation for your track, but make it stand out with an elevated harmonic richness and a thick low end.

Blending simplicity and ease of use, the most important controls for each of these parts have dedicated knobs on the front panel that can be tweaked at any time without any menu diving necessary, so you can quickly and intuitively fine tune your sound on the fly.
For further sound exploration, each part provides many more parameters accessible through the powerful onboard sound editing system.

Last but not least, each part on drumlogue - analog or digital - has a dedicated volume knob that will make your mixing process incredibly smooth and easy.

Digital Flexibility

As the perfect partner for its analog section, drumlogue provides 7 digital parts; 6 sample based and 1 synthesis based (Multi-Engine). The sample based parts can play any of the preloaded PCM banks on drumlogue. You can also import your own User Samples to its memory, making drumlogue an extremely versatile machine with virtually limitless sonic possibilities.

To start with, the 64 preloaded drum kits of drumlogue will provide you with a wide variety of sounds spanning several genres so you can easily kick-start your tracks.

For additional sounds, samples can easily be easily loaded into the drumlogue just by connecting your drumlogue to your computer via USB and simply drag-dropping your samples onto the main memory.

Multi-Engine and logue SDK

The popular Multi Engine from prologue and minilogue xd is now more powerful than ever. In addition to the Variable Phase Modulation (VPM) and Noise generator engines, the Multi Engine features a new User Custom slot that can play full-fledged synth voices that provide vast sonic possibilities, never before heard on a drum machine.

Custom Synths

drumlogue’s synth voices are not simply static waveforms. Custom synths can be built to not only generate sound, even implementing built in filters, LFOs, MIDI controlled polyphony or other parameters is now possible The only restriction for third party developers is their creativity (and CPU usage!), giving you unbound sound exploration.

Exclusive Sinevibes Synth Plugin “Nano”

Korg has collaborated with popular logueSDK plugin developer “Sinevibes” to include a brand new synth plugin “Nano” as a factory preset on drumlogue. This exclusive plugin explores the power behind the expanded Multi Engine and will give all drumlogue users a taste of this new platform.

“Nano” is a full-fledged virtual analog synth with a wide array of features and plenty of customizable parameters. The synth engine has dual oscillators with optional ring modulation, a 4-pole state-variable filter with soft clipping distortion, built-in EG and built-in multi-waveform LFO.

Leads, basses, percussive sounds or cinematic effects, you decide how to use this incredible sonic potential!

A True Sequencing Powerhouse

drumlogue harnesses all of its sonic power to an extremely powerful internal sequencer that is flexible and easy to use.

Tired of the same old beats? drumlogue's heavy duty 64 step sequencer makes it easy and intuitive to create complex rhythm patterns and polyrhythms that elevate your music creation process with innovative features such as per-step probability, per-step alternate trigger patterns, per-step micro offsets, per-track groove patterns and much more.

Thanks to its clear OLED display, it is also very easy to visually follow and edit your sequences.

drumlogue is both great in the studio and playing live. With its Chain mode, creating long and interesting patterns is straightforward and clearly displayed. In Loop mode you can switch between several variations to play your sequence in new and interesting ways. The Motion and Accent recording functions are intuitive and fast and if you want to try new things on your track, the Randomization function is there to help you. These functions and many more on the drumlogue will support and spice up your live performances!

Effects and customization

drumlogue includes several high-quality effects across three categories that can be used simultaneously: Delay, Reverb and Master effects.

The send amounts for delay and reverb effects can be set independently for each part, and multiple return points are available.
The master effects allow you to add that final polish to your sound and bring it all together. Master effects can be bypassed on a per-part basis, making it possible to send the effect to specific audio parts. A sidechain bus is also available to master effects which can make use of it.

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New flight of harmony Parasite Antifilter & Famine Eurorack Modules

video upload by flightofharmony

Overview video followed by demos. The following is the description for the overview:

"A slow walkthrough of Parasite dynamics, showing off the quirks and extreme variability.

Very simple patching (sometimes none), and just showing the more unstable end of usage: Out 2, high Feedback, etc.

It is interesting to note that the Parasite Antifilter acts like a capacitor sometimes and stores energy. Many of the sounds it generates have a charging period before they show and then run on their own like an additional source. They'll keep running until the settings are changed, and have to re-charge before they appear again.

I was going to edit this, but we left it complete to show everything, even the dead zones.

Sources: Desktop Infernal Noise Machine for tone and LFO, IMP for other.

Notable points:

04:10
04:30
06:48
9:44
10:50
12:25
13:09 - Shows the development of various tones and rhythms over the next minute or so.
15:54 through17:15 - long-cycle rhythmic evolution & sporadic distortion."

What is the Parasite Antifilter?
Well, it started out as a VC parametric equalizer, but it sucked. Really bad. I decided to trash the idea and sent the original prototype to the Great Wizard for them to play with since we had been chatting about it. The subsequent findings were completely the opposite of what I found – not about the filter part though, that still sucked. It turns out the Parasite Antifilter is a ridiculously fun and useful drone source, drum generator (especially kicks, snares, and blocks), distortion and fuzz, absolute sonic wreckage device, coloring mixer, formant generator, and so on. We keep finding more uses for it each time it’s fired up.

Ostensibly, the Parasite Antifilter is a 2nd-order cascaded parametric equalizer. Out1 is from the first stage, Out2 is from the second stage. Both can be used simultaneously for a stereo-esque signal. The Feedback knob controls amount of output fed back to the input, and the Feedback toggle chooses if it’s from Out1 or Out2.

The 'Infest' switches are wholly serendipitous and defy explanation. Just know that they are there for good reason, which is readily apparent when you use them. Infest 1 affects the first stage, Infest 2 the second.



"Welcome to Flight's Famine Fun - IMP Edition!

Having used Famine to turn two sound effect modules into sound sources, it was time to see what new possibilities could be found by using Famine on a source module - the INM IMP.

This video is goes into more detail and exploration to show how much is hidden away inside a module that just takes a little torture and suffering to bring out. Come watch!

As with the others, this is the raw audio, with no processing."

What is Famine?
Famine is a voltage-controlled power starvation module, a teasing taste of electronic death – with the ever-present threat of the real thing. Your system will squeal, stutter, fuzz, and shriek, in new ways as you torture it while discovering the sublime joys of Schadenfreude.

Famine is capable of handling 1.5A, enough for an entire busboard of modules.

All/Split:
• In the All position, positive and negative rails track together using the All/+V knob and CV input and the -V knob and CV input are ignored.
• In the Split position, positive and negative are separated and controlled from their respective knob and CV input.

Crush/Wrack:
• In the Crush position, positive and negative mirror each other, i.e., +5V & -5V, +6V & -6V.
• In the Wrack position, positive and negative track inversely, i.e., 0v & -10V, +1V & -9V, +8V & -2V, etc.

Starve/Feed:
Starve position to starve, Feed position to bypass circuit entirely.

L.E.D.s
The LEDs indicate the level of starvation and glow brightest at 0V output.

Notes:

• Most effective on analog systems. Since digital is based on the principle of either on or off, there’s not much to play with there. Systems with bootup periods are particularly annoying.
• NO RELAYS, GAUGES, MOTORS, FANS, OR OTHER INDUCTIVE SYSTEMS (see below).

Disclaimer:
Famine may destroy your system. Although commonly used, voltage starvation is a largely unstudied technique and the dangers it poses are not well known or understood, but are rumored to range from general malfunction to actual fire and catastrophic failure. Any use of this module is entirely at your own risk.

NOT RECOMMENDED with inductive or electromechanical systems. Inductive kickback has been known to be a danger to circuitry in AC power distribution systems. The currents in Eurorack are highly unlikely to cause damage, but it is a non-zero possibility.

Details, samples, updates, and discussion can be found in the Famine thread on ModWiggler.com.

https://flightofharmony.com

Pre-orders available at: https://flightofharmony.com/contact/

New West Pest Synthesizer from Cre8audio in Partnership with Pittsburgh Modular

The Dimension of the West Pest - Cre8audio West Pest Film video upload by Cre8audio

On the heels of the East Beast based on East Coast Moog style synthesis, Cre8audio and Pittsburgh Modular introduce the West Pest based on West Coast Buchla style synthesis.

cre8audio West Pest Sound Demo (no talking)

video upload by Bonedo Synthesizers

Cre8audio West Pest synthesizer review

video upload by Molten Music Technology

"Cre8audio's second little synth is the West Pest. Inspired by West coast synths it has a big fat wavefolder and a fabulous Dynamics Controller that gives it a very different feel to the East Beast."

Index - 0:00
Intro - 1:17
Overview - 6:22
Wavefolding - 9:21
Oscillator waveforms - 15:26
Dynamics Controller - 17:54
LFO - 25:20
Multi-wave noodle with delay and reverb - 29:25
Sequencer and Arpeggiator - 31:23
Multi Engine - 34:50
Couple more sound demos - 39:37
Conclusions - 42:01
Dueling synths - 47:36

"Designed and developed in partnership with Pittsburgh Modular Synthesizers, West Pest is a powerful monophonic full voice, integrating imaginative sound-shaping tools with traditionally “west coast” concepts.
Test the pest!

West Pest’s unique sound has been influenced by Pittsburgh’s acclaimed Voltage Research Lab synthesizer.

The Pittsburgh-designed core oscillator technology has matured through the development of their SV-1 and later with Voltage Research Laboratory. This iteration’s waveforms have been optimized to be run through West Pest’s wavefolder.

Wave folding/shaping is integral to West Pest’s foundation. Wavefolding amplifies incoming waveforms. Rather than clipping or distorting, the wavefolder circuit folds the waveforms back onto themselves, creating upwards of six folds to add vast harmonic complexity and depth.

West Pest’s snappy, responsive articulation is accomplished by the “Dynamics Controller,” Pittsburgh Modular’s original invention. This unique concept is designed to behave like a traditional filter, a VCA, and an envelope generator, all at once. Upon note trigger, the filter opens fully and rapidly, producing a sharp, percussive attack. At release, the Dynamics Controller adds a ringing, resonant decay, resulting in a rounder, more musical sound. The Dynamics Controller is the product of years of research by Pittsburgh’s founder Richard Nicol, and Chief of R&D Michael Johnsen. Inspired by the developments of West Coast synthesis pioneer Don Buchla, Pittsburgh Modular has modernized and evolved these concepts, taking them into new realms, adding wider range, consistency, stability, and resonance control, as well as an infinitely variable, ringing decay.

Going beyond these analog sound-sculpting tools, West Pest also includes a deep new digital multi-mod /multi-function tool concept to add more flavor to the Pest’s production. The multi-mod lets users select between additional clock synced LFO, decay envelope, MIDI-controlled modulation, and random voltage generator modes.

West Pest’s compositional and performance capabilities are as robust as its ferocious sonic engine. West Pest can be controlled via MIDI, control voltage (CV/Gate), and its function keys, which double as a keyboard controller. Also included is an integrated sequencer & arpeggiator that can also be controlled via MIDI and is externally clockable.

A semi-modular synthesizer, West Pest has basically 8 different patchable modules (Oscillator, wave contour, dynamics controller, LFO, multi-mod tool, MIDI to CV converter, step sequencer, and button keyboard) with a whopping 18 Eurorack compatible patch points to plug into itself and your other gear. As a starting point, West Pest comes intuitively patched internally to create a bold and flexible full synth voice. Using the patch points enables users to reroute internal signal flow, as well as use with external eurorack format modules and synthesizers. To promote experimentation, Cre8audio has included a set of premium Nazca Noodles patch cables.

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Noise Lab Clang and Wrinkler - first look and comparison

video upload by John Schussler

"'Clank & Wrinkler' sounds like a good name for a law firm. In this case, it's actually the two latest modules from Noise Lab in Sweden. Clank is a combination wave folder and ring modulator, Wrinkler is a wave folder.

Here I'm showing them next to a 'standard' ring modulator (from Random*Source/Serge) and wavefolder (Intelllijel Bifold). Both the Clank and Wrinkler have new features that make them unique, so I'm interested to hear them next to the 'traditional' sound.

As usual, envelope is Zadar, sequence is from Stochastic IG, and VCO is a Dixie II+ tri wave (until the latter part where I use the square).

00:00 Intro
00:20 Serge Ring
02:04 Clang - ringmod
07:08 Clang - folding
09:47 Clang - drone
11:31 Wrinkler - sequnce
14:30 Bifold
17:36 Wrinkler - drone
19:04 Wrinkler - square
20:59 Clang - square"

CLANG - Ring folder. A new eurorack module from Noise Lab Sweden.

video upload by Noise Lab Sweden

"Introducing CLANG! This new module from Noise Lab combines ring modulation and wavefolding in a pretty unique way. With just a sine or triangle wave you can create anything from bells and shrills to deep, brooding basses. Extremely versatile and plenty of sweet spots!"
Noise Lab Modules (DEMO)

video upload by Noise Lab Sweden

"Here's a demonstration of six new eurorack modules from Noise Lab (Sweden). All audio recorded directly into the camera, no processing or effects were added to convey a completely pure and unaltered sound. No talking. Find out more at: https://www.noiselab.se/"

"CLANG Ring Folder

Clang is a unique combination of a four-quadrant multiplier (ring modulator) and wave folder that can generate a wide range of interesting sounds from just a sine or triangle waveform. From screeching drones and strange bell sounds to plucky tones or center aligned pwm waveforms. Three inputs which accept both audio and control voltages, and two outputs with slightly different functions: the left simply provides the processed sound, while the right routes the signal via a VCA, controlled by the Offset Mod input and its level knob. Clang also has an integrated triangle oscillator normalled to the Y input.

RM Mode switch (Ring Modes)
1: Four-quadrant multiplier. Modulation of the carrier signal with offset control. Ideal for producing typical bell-like tones.
2: A single stage, soft folding circuit that bends the waveform and adds extra harmonics to the carrier waveform.
Offset Mod input can be used to animate the folded signal.
3: A hard fold circuit that generates an unusual center aligned pwm-like waveform.

Width: 8HP
Depth: 26 mm
Power: 25 mA (+12 V) / 25 mA (-12 V)

175.00 €"

WRINKLER Wave Shaper

The Wrinkler consists of a primary wavefolder circuit and a secondary “creaser”, both controllable via knobs and CV. Generally wave folders only work with low harmonic content such as sine or triangle waveforms but this one comes with circuitry that can fold and wrinkle ANY waveform you feed into it, including square waves! An offset function adds some extra sonic abilities to the mix. The Wrinkler got two outputs; one with the folded signal and one with a “squarified” version of the folds. Perfect for creating harsh, metallic sounds.

When folding a waveform you add a lot of harmonic overtones to it. Unfortunately in the process, the fundamental gets weaker and you will lose some of its original low end content. With the DRY LEVEL knob you simply blend the original waveform with the folded.

Width: 12HP
Depth: 26 mm
Power: 46 mA (+12 V) / 46 mA (-12 V)

285.00 €

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.

New BOSS RE-202 & RE-2 Space Echos | The Next Generation of Space Echo

video upload by BOSSchannel

"The legendary Roland RE-201 Space Echo experience returns in an advanced delay pedal with modern features.

Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.

Backed by intensive R&D and our latest innovations, the RE-202 faithfully delivers the authentic sound and behavior of the Space Echo, like never before. Built by the company that designed the original, this advanced pedal captures the RE-201’s magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colorful preamp circuit. And to take things even further, we’ve expanded the vintage Space Echo experience with lots of new features tuned for today’s music.

➤ The Space Echo story:
https://www.boss.info/global/promos/s..."

BOSS RE-2 Space Echo | Authentic Space Echo in a Compact Pedal

Details on the RE-202 via Roland:

A Masterpiece Returns in the Modern Era

Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.

Backed by intensive R&D and our latest innovations, the RE-202 faithfully delivers the authentic sound and behavior of the Space Echo like never before. Built by the company that designed the original, this advanced pedal captures the RE-201’s magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colorful preamp circuit. And to take things even further, we’ve expanded the vintage Space Echo experience with lots of new features tuned for today’s music.

Standard Features

Authentically recreates the sound and behavior of the legendary Roland RE-201 Space Echo
Classic multi-head tape echo sound with expanded delay time
Original three-head configuration plus additional tape head for 12 unique echo combinations
Independent stereo reverb section with original spring reverb type plus hall, plate, room, and ambience
Saturation control for adding magnetic tape compression and preamp coloration
Wow & Flutter control for introducing varying levels of natural tape modulation
Choose between new and aged tape conditions
Selectable input modes for optimum performance with instruments and line-level gear
Warp and Twist effects with footswitch control
Select between the unprocessed analog dry signal or the modeled sound of the original Space Echo preamp
Four onboard memories plus the current panel settings
Save and select 127 memories via external MIDI program change
Tap tempo and carryover functions
True stereo input and output
Expandable control via external footswitches, an expression pedal, or MIDI
Tape Echo Magic

Tape echo was the first delay effect and one of the first effect processors available for electronic musicians. In contrast with today’s CPU-based digital units, a tape echo is a simple machine that uses a motor to pull magnetic tape across one or more record/playback heads. Warm, full, and dynamic, the tape echo sound is influenced by many factors. The ever-changing input level colors the sound with varying amounts of tape saturation and compression. In addition, motor speed fluctuations, friction, wow and flutter, and other elements introduce an appealing modulated character that’s subtle and continually evolving.

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