via Geargasstore on Ebay Flight of Harmony Plague Bearer Barebones Kit "The Plague Bearer Barebones Pack (PBBP) is a low-cost alternative to the standalone or a module. The PBBP contains just enough components to provide full functionality, no extras or "frills". The PBBP can be customized, however, with different knob colors, extra jacks, different format jacks, or even with the pots supplied loose and headers attached to the PCB instead. The PB boards have been re-designed and improved over the previous versions. These were designed with modular options in mind, and have more flexible connection options. The default board pack uses the standard Blacet 4-pin connector, but the board has mounting holes for the Doepfer A100 10-pin power connector. Actually, it has holes for a 5-pin SIP connector which is one side of the Doepfer connector but the unit draws less than 30mA at peak usage.
With this kit, you can design your own Sound of Shadows Eurorack module or adapt it to other synthesizer interfaces.
Features * fully-assembled and tested PB filter board * soft-touch knobs with red indicator (other colors available on request) * 3.5mm mono phone jacks * 2-pin 24ga. 0.100 Amp IDC connectors (for High CV, Low CV, Audio In, Audio Out) * 4-pin 24ga. 0.156 Amp IDC power connector"
"The Sound of Shadows Barebones Pack is a low-cost alternative to the Sound of Shadows module. The Sound of Shadows Barebones Pack contains just enough components to provide full functionality, no extras, "frills", or faceplates.
With this kit, you can design your own Sound of Shadows Eurorack module or adapt it to other synthesizer interfaces.
Features * CV Control of Rate, Feedback and VCA * Signal In for Signal, Insert and VCA * Outputs for Clean, Delay, Mix and VCA * Supply voltage 9VDC-15VDC"
Hi everyone! As you know Barry Schrader will be giving his farewell concert at CalArts on September 26. The following is the beginning of my interview with him. I opted to post the questions and answers as they come in. New QAs will get a new post so you do not miss them and they will be added to this post so we have one central post for the full interview. This should make it easier for all of us to consume in our busy lives, and it will allow you to send in any questions that may come to mind during the interview process. If you have anything you'd like to ask Barry, feel free to send it in to matrixsynth@gmail.com. This is a rare opportunity for us to get insight on a significant bit of synthesizer history, specifically with early Buchla systems, and I'd like to thank Barry for this opportunity. Thank you Barry!
"Here's a great shot of the new Flight of Harmony The Sound of Shadows delay module. The SoS is a dirty digital delay based on the Princeton chip commonly used in effects pedals. Flight of Harmony has also included a VCA, and of course the module features a feedback loop and a good amount of voltage control. The Sound of Shadows will be available in December and the price will be $195. Photo credit: Soy Sos from Muff Wiggler. Also shown: Make Noise QMMG, Tiptop Audio Z3000, Flight of Harmony Plague Bearer barebones kit built into a DIY panel, Doepfer and MFB modules. LINK for more info and soundclips: www.muffwiggler.com/forum/viewtopic.php?t=9878."
"While testing a final prototype of the upcoming Sound of Shadows eurorack module Kit I found some really good examples of what the SoS can do, so I grabbed my phone and recorded a few minutes.
Connections:
Input is a ±5Vp-p (ish) triangle wave from my ancient Function Generator. The frequency is swept by the FG's internal ramp oscillator.
Output goes directly to studio monitors.
The blue CV input cable is from the aforementioned ramp oscillator in the FG.
Audio and video captured by my ancient Samsung Note 3.
No other equipment involved.
Apologies for the shaky video and general haphazardness, this was spur-of-the-moment.
The SoS is *not* a clean delay; that's not the point. : )"
Published on Jan 14, 2014 RolandChannel·828 videos
"Roland Engineers discuss the initial concept of the TR-808 which was conceived and built in 1980. Although it was designed to create 'backing tracks', creative musicians started to use the Rhythm Machine as an instrument and music changed forever. Now the evolution begins again."
"Greetings All! It has been quite some time since the last newsletter, but that’s because there’s been so much going on that I just haven’t had time to get one out.
Firstly, an apology for the slowness of my responses to emails lately. For those that hadn’t yet heard, I recently learned (to my surprise) that I had to move, so I did. But, as the saying goes: “when it rains, it pours” or, as I prefer to say, “a lot of shit just happens all at once, it comes in waves”, so I ended up having to take almost two months off of work, and am now working like mad to get back on schedule. Due to all this, the website has not been updated during this time. I have a hard time sitting at the computer when there are things to be built on the workbench, so the site is low on my list of priorities.
I always try to be as professional as possible, but the simple fact is that this is a one-man show (for now, that is…) and it takes a lot of work. Please bear with me.
NEWS • A new distributor has joined the fold: Geargas - http://www.geargasstore.com/. They now carry the Barebones Pack versions of f(h) modules! Depending on availability, of course.
• The Sound of Shadows eurorack module is available from Analogue Haven, Schneidersbuero, and Post Modular.
• The Sound of Shadows Barebones Pack (SoSBP) is now available, either direct or from Geargas, $125.00. The SoSBP works on a supply range from ±9V to ±15V and has an MOTM 4-pin power connecter standard, Doepfer-style connecter on request. The SoSBP web page is not up yet, hopefully soon though.
• Two special limited-edition Infernal Noise Machines are available from Big City Music. Each of these has a solid walnut housing, hand-made by George Mattson. I must say they look damn nice!
JOYSTICKS As some of you have noticed, both the Choices modules and the Infernal Noise Machines are currently in short supply due to a shortage in the supply of joysticks. Now, after several months of waiting, I have finally received a response from the factory, so it is time for another group buy. These are brand-new joysticks, not “New Old Stock”. If you are interested in joining in, please contact me at: joystickbuy at flightofharmony.com for more details.
Thank you all very much for your support and patience, I am only able to offer these products because of you!
"Sound design experiments with Flight of Harmony Sound of Shadows and IMP Eurorack modules.
The purpose of 'TEST SERIES' is to focus on the sound design possibilities of various gear combinations. This series is not musical nor does it serve as an instructional video. It is all about sound potential.
Please consider supporting this channel by purchasing a sample pack or music download from www.outsidersounddesign.com"
"Go behind the scenes and learn how Roland's newly developed Analog Circuit Behavior (ACB) faithfully captures the sound and feel of some our most revered classics. ACB is the technology behind the authentic sound and responsive behavior of the AIRA products. It utilizes original design specs, consultation with original engineers, and a detailed, part-by-part analysis of each analog circuit in Roland's own pristine units."
Update: It's worth noting the Creamware ASB boxes also employed analog circuit modeling and Tone 2's True Analog Modelling went down to the capacitor and resistor level: "We carefully analyzed & modeled the circuits of many classic performance synthesizers, including even single capacitors and resistors to provide an extremely accurate analog model, faithfully capturing the spirit and character of these old machines." I forget what Novation's ASM technology used. The short of this is there are different levels of modeling. The idea according to the video above is if the closer you get down to the very base level of modeling the building blocks of an analog synthesizers, the closer you will get to analog sound. In the end it is the sound and interface that ultimately matter. But for those that were hoping to pick up a brand new analog TB or TR clone, it looks like that is out.
Update2: added some notes below the lighter screenshots further below via cheater who sent in the pics. Also see the Facebook discussion links there.
Update3: See this post for a perspective on old analog circuitry from PHILSYNTH.
AIRA — it's coming soon.
Published on Feb 6, 2014
"With roots in the very origins of electronic music, AIRA is the new series of products designed to meet the evolving needs of today's electronic musicians. In the studio or on the stage, AIRA brings genre-defining sound and modern performance features to a new generation."
Two pics lightened by cheater who made the following points: "just visited the AIRA website. So it's digital. No modding possible, no uniqueness of sound, no soul... what a disappointment. Roland still don't get it. Korg and Moog are lightyears in front of them. Anyways, as a second place prize, I've modified the pictures to show the hidden details that are in the shadows. You can see a VA groovebox, synth (probably poly), what looks like an effects box, and a drum machine. You can't see much but you can see much more than on the websites."
Two tone generators have been programmed to match the pitch of the other. Intervention using various components prevents one from ever quite reaching the other. Shadow falling on the photocells in the middle of the piece will allow the dance of the two pitches to be heard though sometimes they exceed the limit of human hearing in their ascents.
Burlap Series 2006
Burlap is a continuing series of work inspired by Peter Vogel and Marc Nimoy that explores the blurring of the electronic circuit and traditional two-dimensional art forms. Small interactive, physically programmed musical computers have been embedded, woven into a skin of burlap, creating an electronic music composition in the form of a reactive textile. Gallery guests interact with the pieces by casting shadows over embedded sensors. CMOS 4000 series ICs are configured into circuits which produce tones, sequencers, and dynamically behaving oscillators that respond to shadows cast by guests. Each composition explores themes of cyclical and chaotic structures, iterative sequence generation, and dynamical feedback systems. The visual form of the Burlap pieces takes its cues from traditional circuit design and is the result of a dialog between the functions of the different parts of the circuits and the nature of the signals shuttled from one part of the circuit to the next. Weaving the circuits into a canvas of burlap juxtaposes natural construction materials with electronic technologies, and thus presents a challenge to the notion of the circuit as something that is cold, calculated, and non-human. The Burlap itself is used as a semiotically rich signifier indicating, amongst other themes, the historical origins of computing in mechanized weaving, pre-industrial age textiles, and a return to reliance upon renewable natural resources."
AANN (Artificial Analog Neural Network) - Phillip Stearns
"http://www.art-rash.com/pixelform
This is a short documentation clip of AANN from the 2008 Juried Exhibition at the Torrance Art Museum (City of Torrance, LA, CA, USA).
AANN is an interactive, handmade electronic sculpture that responds to changes in ambient light and sound. The sculpture itself is 45 interconnected, electronic neurons that are actively responding to environmental stimuli in a display of light and sound. Constructing the sculpture in such a way that function and form are keenly interconnected, borrows from the sculptural, musical electronics works of Peter Vogel. Great care was taken in the design of the electronics to accurately mimic biological neural behavior. The resulting form of the piece was influenced in part by layering models used in neural computing, and by Fibonacci based branching found in natural systems. AANN explores the notion of interactivity with electronics by making physical the abstract processes being used by modern computer scientists to solve complex problems in pattern recognition.
The science of robotics seeks to study, mimic and recreate life through the creation of automatons which are ultimately are designed to complete tasks that serve our desires. Here with the creation of AANN, the desire is to explore the possibility of making a thinking thing, one that is allowed to have its own desires. However, in the end what AANN becomes is a sign of the industrial military complex, signifying not only the possibility of the pursuit of such idealistic techno-fetishistic dreams of machine intelligence, but also their very negation through the terminal exploitation of the very life which it seeks to replicate (and eventually replace).
Questions which arose during the course of researching and developing the work branched outwards from the decade old debate about machine intelligence and its potential impacts on society and environment. What is interactivity? What are the preconditions necessary for such interactivity? Does intelligence play a role or is interactivity a generic feature of reality. What is it to think? Is it possible for a machine to think as we do? If it is not yet possible to understand what it is to think and how we humans do it, what is it that drives us to make machines think? Are we too lazy to think for ourselves? How much does structure factor into the functioning of a network both biological and artificial? What are the implications of accepting a networked model of understanding? What is the total impact of technology on society and on the biosphere which supports it? Is it possible for a technological work to affect enough positive change to offset the potential social and environmental damage wrought in its history of development and application? Can technology exist without economies of scale, and if not, can those economies of scale be maintained in an ecologically sustainable manner?"
"Bill T Miller Synthesizer Performance @ New England Synth Fest @ Museum of Science Boston - 08.11.22. This BTM stereophonic improv performance features a CLASSIC SYNTH array... Buchla Easel Command 208-C, Korg ARP 2600, Moog Mother-32, Make Noise O-Coast and 4MS STS Sampler & Toppobrillo MiniMix.
Video Produced/Directed/Edited by Bill T Miller Cameras: BTM & Sheri Hausey & Beth Moguel
BILL T MILLER, a chameleon of sonic exploration, is a multi-instrumentalist musician, composer, recording engineer, producer, filmmaker, photographer, artist, instrument builder and cat lover. From toy piano at two years old to starting a "band" with tennis racket guitar and trash can drums in the 60s to becoming a professional recording engineer / producer / live sound tech after graduating from College for the Recording Arts in San Francisco in 1976, his paths are always unfolding and looping. At recording college he took synthesizer courses with ARP 2600 and Emu synths and then worked (as live sound and recording engineer) in California until 1980.
Eventually ending up in Boston working as a freelance recording engineer and live sound engineer and then starting his own Headroom Recording Studios. While much of his "professional career" was devoted to recording and photographing OTHER artists, he was always working on his own weirdo music bands in the shadows. Some of these adventures include Out of Band Experience (OBE), Kings Of Feedback, Drum Army, Kings Of Slack, Zonkulator, and Orgy Of Noise with over 25 full album releases on his own DIY labels as an artist.
BTM's quest has looped back around to a nostalgic look forward incorporating ALL of the past adventures while moving sideways in time in to an unknown future think void. Living in Boston for 37 years and giving every moment to this insatiable desire to CREATE and SHARE is focus of his true path.
On the Second Thursday of every month of summer 2022, the Museum of Science teamed up with New England Synth Fest for an incredible fusion of live synthesizer performances that took over the Charles Hayden Planetarium. Experience some of the best synth musicians and visualizers from New England like never before in the immersive full dome environment of the Planetarium.
LOBBY MUSIC 7pm BILL T MILLER = outer space trip out synths 20 minute set - PLEASE LISTEN CAREFULLY.
LOBBY SYNTHFEST VENDORS ARP Foundation (Alan R. Pearman's daughter DINA will be there) & SynthCube & Stompbox Sonic & coolpix and MORE
7:30pm in the DOME three were 20 minute sets back to back for first show...
introduced by the host of MOS SUMMER THURSDAY SERIES... JAMES MONROE ! - Asha Tamirisa - LIMBC with visuals by Solid State Entity - Bob Familiar with visuals by cskonopka
+ following 1st dome show were two 20 minute LOBBY sets... - Vizzie / Oxalis (Ed Guild & Richard Tarantio) - Build (Nick Solarz)
The three lobby sets are hosted by Richard Tarantio in conjunction with Modular On The Spot Boston. Richard provided LIVE SOUND for all three lobby sets and played in a duo for the middle set.
+ 9:30pm in the DOME there was a repeat of the hree 20 minute sets back to back for second show. (see above.)
Boston Museum of Science Polage Art by Austine Wood Comarow !!!!!
Mega Thanx to NEW ENGLAND SYNTH FEST HOST... KENT LUNDBERT ! Super Thanx to MOS SUMMER THURSDAY SERIES HOST... JAMES MONROE !
Ultra Thanx to BUCHLA GURU TODD BARTON for KRELL WISDOM & FLUTE APPEARANCE via morphagene sampler.
Super THANX to BETH MOGUEL for footage. Eternal THANX as always to SHERI HAUSEY & Tippi Cat & Ziggy Cat & Mel the Cat !!!!"
"Requested demonstration of using the Facehugger to control a Sound of Shadows PT2399 delay module. Again, a lot of noodling and experimenting.
I have to say, that I honestly wasn't expecting much with this ne but oh boy, was I wrong. This was a LOT of fun. I really wasn't expecting a lot of what came out of this.
Some random points of interest:
1:46 Bees
2:00 They'll laugh at you
2:55 Beep boop clang
4:22 Scratch
4:42 Beat
5:30 Whales in space
6:29 Secret pulse (no audio input)
7:43 I broke it
10:00 Roar
10:55 Bringing it back in
11:38 Okay, that's cool.
"The Sound of Shadows (SoS) is a voltage-controlled (VC) digital delay module based around the PT2399 echo IC1 from Princeton Technology – which was, by the way, originally designed for Karaoke equipment.
The SoS is essentially two separate modules: a delay and a voltage-controlled amplifier (VCA). The focus of the SoS was the delay while the VCA was thrown in because half of an LM13700 IC was unused, so the VCA is very basic.
As with all f(h) products, the SoS was engineered towards maximizing functionality while keeping cost as low as possible. If some aspects of the unit seem awkward, it is most likely due to this. The goal is to make unique, useful, enjoyable, and affordable instruments, not just hoover2 out your bank account.
And remember: every instrument has its quirks and unexpected aspects, so RTFM! All the way through! Specific quirks are mentioned in the description of the particular feature they apply to, so please read this through before emailing!
Features
Rate Control
Feedback Control
Insert Level Control
Input Level Control
Mix (Dry/Wet) Control
VCA Level Control
Rate, Feedback, VCA CV Ins
Input, Insert, VCA Ins
Clean, Delay, Mix, VCA Outs"
"Flight of Harmony is taking pre-orders for the last ten Quad Plague Bearer stand-alone units. These units are based on the v3.3 circuit boards and will feature inverted graphics (aluminum on black, like the Sound of Shadows module)."
USD$350.00+ Shipping & Handling
For those not familiar with the Quad Plague Bearer:
"What is the Quad Plague Bearer Desktop Unit?
It is four independent Plague Bearers housed together to infect, corrupt and pervert a signal beyond recognition.
It contains four Voltage-Controlled Resonant Bandpass filters that were designed with the goals of maximum signal alteration and maximum parameter control. Each filter has controls for varying the high and low corner frequencies of the pass band, as well as variable gain and an input attenuator. Each section of the Plague Bearer can be used as a filter, an oscillator, a noise generator, or even as a resonance oscillator!
Depending on the settings, the filter can be a lowpass, highpass, single-bandpass, or multiple-bandpass. Adjusting the resonance point can cause the filter to self-oscillate in many ways: By adjusting the controls to just below the point of oscillation, and then applying a pulse, square, or other abrupt-edged input signal waveform will “ring” the filter. A simple “click” on the input can give a percussive output sound – from bass drum to bell to a harsh metallic clang; Crank the controls up and this beast will scream like a banshee! The oscillation can be damped or continuous. Chain a couple in series and get accumulating feedback – the build-up can be slow, fast or instantaneous. White Noise is easy to do – you don’t even need an input signal! Turn the input all the way down, and then slowly turn the gain up. You can adjust the “color” of the noise with the frequency controls. Daisy-chaining multiple filters can give a “comb” or multi-phase noise. About phase-shift characteristics: A single filter can give a STRONG chorus effect if so desired, useful as a sub-oscillator or just to 'fatten' a sound."
Part 10 from 10 and the last one of the series.
The deep bass sound of Steve Hackett - Clocks, Shadows Of The Hierophant
Moog Taurus analog bass synthesizer pedals from the year 1976
3 presets: Taurus, Bass, Tuba
1 variable and full programmed sound
Used by Genesis, Rush, Asia, Genesis, Police, The Cure, Marillion, Saga, Dream Theater, Pink Floy, Motley Crue, Led Zeppelin, Jean Michel Jarre and more
The Taurus 1 use linear VCOs. The Minimoog and the later Taurus 2 and 3 use exponential VCOs. Linear VCOs are the secret for the stable bass sound of the Taurus 1.
more pictures:
RetroSound synthesizer demo videos since january 2007.
All is for free. If you like my work, so can you support me with a donation or a purchase of my music albums. Thank you!
LIVE MODULAR TRACK RECORDED IN ONE TAKE WITHOUT OVERDUBBING!
Musical Elements:
"B-Boy Flange Hats" Mungo dDS noise channel activated via trigger in modification. Flanging effect via Yamaha AD-202 Analog Delay.
"Conga Heart Beat" MFB Drum-06 Tom Tom module into Analogue Systems RS-100 Low Pass Filter. The tom interchanges as a fill with the kick drum via alternating switching by using VCAs with an Intellijel Flip Flop.
"Snappy Chorus Claps" Sound of a Pittsburgh Modular Generator frequency modulated by itself and white noise. The internal VCA of the Generator is controlled by an Analogue Systems RS-60 Envelope. It then goes into a Doepfer A-136 Distortion/Waveshaper and on into a Flight of Harmony Sound of Shadows delay.
"Rubber Bass Kicks" MFB Drum-04 Bass Drum module Sequenced by an Analogue Systems RS-200 Sequential Controller into an RS-100 Low Pass Filter. I reset the sequence with a foot switch via a Doepfer A-177-2 External Foot Controller II module.
"G-Funk Bird Calls" Cwejman VM-1 sequenced via an RS-200 Sequential Controller into an RS-110 Multimode Filter using the high-pass output. It then goes into a Pittsburgh Modular Analogue Delay and on into a Zoom 9200 Reverb.
"Metal-Beaded Cabasa" Elby Designs CGS747 Cynare Simulator triggered via a Doepfer A-166 Dual Logic Module.
"Com Trusian Chords" Roland Juno-106 into a Boss RX-100 Spring Reverb.
"Aztec God Rays" While the Juno-106 is played polyphonically is also activating a mono channel of a Kenton Pro-2 Midi-to-CV converter which is controlling another Cwejman VM-1. The envelope in set in such a way that the sound emerges once the gate is released. It goes into a Doepfer A-199 Spring Reverb which is feeding back into the VM-1 via the audio input jack.
"Ticklish Chimp Giggles" The result of a complex feedback loop involving a Doepfer A-138m Matrix Mixer, an MFB DRUM-05 Snare Drum module, an Elby Designs CGS735 Synthacon Filter, a Pittsburgh Modular VC Bend and an Elby Designs ED108 ChaQuO.
"Didgeridoo Error Stabs" The Kawai K5000W keyboard is acting as a Midi controller for another channel of CV via a Kenton Pro-2. It controls 2 Bubblesound uLFOs going into a Make Noise QMMG modulated by a Make Noise Maths.
Download the MP3 at: http://soundcloud.com/cv-slime-800/the-electric-jungle
"Just a little LOUD AND DISTORTED Trogotronic Infernal Noise Machine SpazeDrum Sound of Shadows SOUND DESTRUCTION! WAAAGH!!! Well ... so ... I wanted to use the Flight of Harmony INM-E to process the analog Gotharman SpazeDrum output. But then I thought: "Why not step it up a notch?". So I added the Trogotronic 679 vacuum tube ... THING ... and sent the result through Flight of Harmony's Sound of Shadows delay too.
I love to hear from you and talk about synths and stuff, so always feel welcome to post a comment or send me an e-mail to:
➤ tuesdaynightmachines@gmail.com
Questions or comments? Go ahead and post them below! :) Thanks for watching!
MORE INFO:
The paraphonic VCOs are from the MFB OSC02 triple VCO, generating pulse waves, going through the Voice of Saturn Filter and mixed with a little Plague Bearer effect. The secondary sound is a Dixie pulse wave VCO going into a V'Amp, modulated by the Anti-OSC, going into the uVCF. All modular sounds end up in the Sound of Shadows delay.
Gear used in this video:
- Eurorack Modular Synthesizer (with Vermona qMi, Doepfer, Malekko Wiard Anti-Oscillator, Intellijel, Koma Kommander, Sound of Shadows, Plague Bearer, V'Amp, Ataraxic Translatron, Voice of Saturn VCF, etc. see: http://www.modulargrid.net/e/racks/vi...)
- Arturia MicroBrute (analog synth)
- Roland JV-1010 (ROMpler)
- Vermona DRM-1 mkIII (drum synth)
- Akai MPC 1000 (sequencer)
- Zoom R16 (recording & mastering)
YouTube via gustofergreen — April 22, 2010 — "This started out being just me pretending I was Star Wars sound desinger Ben Burtt trying to recreate the light saber. It ended up showing off the new Sound of Shadows CV cotrolled delay unit by Flight of Harmony pretty well. I am a total newb to the modular world so my kit is very much a work in progress. I used an a-145 lfo square wave in audio range fed into the SY02 MS20 clone then into the SoS. At the end the filter is self-oscillating and so is the SoS. Sorry for the camera audio."
BTW, you can find out how the original light saber sound was made in this dblondin article.
"The vhikk is a multi-algorithm experimental synth voice for eurorack. It combines wavetable oscillators, filters and delay-based effects into one module with 9 different modes."
"The name of the company is Forge-TME. The module is VHIKK. No, I don't know what any of that means.
The module at its most basic is an oscillator. Several, actually, merged with a variety of self modulation, feedback, and delay connections that make it look, at first glance, like an all-in-one drone.
It ends up being more than that. It tracks 1v/oct just fine, so can be a melodic, even lead oscillator voice. I start this video with the basic drone side of things, but then move over to the sequenced pattern side, which is equally interesting.
I'm not going to try to explain the module in any detail, as its structure is too complicated. You're gonna have to RTFM for that (https://forge-tme.com/vhikk/). On the upside, that complexity doesn't make it hard to use. Wiggle the knobs and lots of great stuff comes out.
Sequencer: Stochastic IG. Envelope: Zadar
00:00 Intro
00:20 Drone - no pitch
04:45 Drone - pitch up
18:28 Slow sequence
23:00 Fast sequence"
"The vhikk twists, convulses and wails in a vortex haunted, spitting dirt and dust and time and raw energy.
Rapid shadows, alien physics, pulsating artefacts, sometimes ridiculous, sometimes possessed.
The vhikk is a multi-algorithm sound source capable of traversing sonic planes complex, raw, dense, electric, erratic, dynamic.
The vhikk trades total control/comprehension/repeatability for a [hopefully fertile] dialogical experience and breadth of sonic palette.
It is intrinsically ephemeral and is designed to encourage exploration and presence - with low cognitive overhead.
The vhikk is happy alone but thirsty for voltages. The produced output can be quite spectrally and temporally full and doesn't necessarily require [but definitely appreciates] further processing to synthesise musically useful material.
The Vhikk is a multi-algorithm experimental synth voice specialising in [but not limited to] complex drones and basses, rich textures, and dynamic sfx. It combines sound generation and effects processing into one module with 9 different modes.
The nature of the Vhikk makes it suitable for situations where a compact, ergonomic, and self-contained sound source would be welcome - for example smaller modular systems, or large systems where a strange sound source with minimised cognitive overhead would be desirable.
The general architecture consists of a bank of wavetable oscillators [the generator] sent through a filter section which then passes into a delay-based structure [the processor] - with the specific architecture and character of these sections dependent on the selected mode.
Some of the modes implement what is referred to here as 'cluster scanning' - a smooth crossfading scan through sets of frequency/wave pairs. Imagine a wavetable scan parameter but each distinct wave position also has an associated frequency offset. In the modes implementing cluster scanning these wave/frequency offsets are different for every oscillator.
The processor in general consists of a delay-based structure which can be smoothly transformed from something resembling a delay [distinct [albeit processed] repeats] to something resembling a reverb [diffused repeats, increasing echo density, modulation].
There is a frequency shifter integrated into the processor, either post delay-structure or in the feedback loop depending on mode and FEED position.
The X jack is a signal input which is merged with the generator pre-filter and passed into the processor. The graphic in the upper middle of the panel is a level indicator for the X input."
"A quick n' dirty demo of the Flight of Harmony the Sound of Shadows Eurorack delay module for my fellow Irish Wiggler - papercutnoise! Hope this is in some way helpful mate!
Sorry that the camera audio input only picked up the left channel :( 1st demo video so please forgive me trying to keep my fat arms out of the shot - makes it look like Im pointing all the time :)"
via Geargasstore on Ebay
Flight of Harmony Sound of Shadows Barebones Kit
