This module makes infinite music | Stochastic Inspiration Generator Demo

video upload by mylarmelodies

"Being a demo of a unique and inspiring 4-part generative eurorack modular sequencer, the Stochastic Instruments SIG+."

CHAPTERS
00:00 Hello.
00:23 Choosing Notes & Probability
02:28 Choosing Octaves
03:25 Looping
04:47 Looping Tricks
08:09 Force Barline
10:24 Linearity
11:25 Repeats
12:24 Ascend/Descend
14:52 Ratcheting
15:59 TrEG Attack/Decay
18:13 A pause for thought
19:32 Making a multimbral Orchestra!
23:13 Ambient Outro

Qu-bit Introduces Mojave Live Granular Processor Eurorack Module

Tutorial 1: Getting Started video upload by Qu - Bit

00:00 Introduction
01:18 Let's get started with Clock modes, Rate, Gen triggers and how to get grains moving.
02:36 Other ways to trigger grains? Hello, Gen Modes!
03:36 SIZE!
04:26 Don't forget to shut the window. Or, maybe open it?
05:04 Speed: Wait, we can pitch-shift grains?
05:39 Zone: Grains from the present and the past. (Too fun.)
06:35 The relationship between Distribute and Structure.
08:02 Take control of quantization with Sky modes.
09:06 I want my grains to jump around! Drift is your friend.
09:37 Whirl creates a universe in stereo. No, really.
10:03 TWO end-of-chain effects - Feedback and Reverb!
11:17 TWO freeze functions!
13:02 Dune: Mojave's unique CV/Gate output
13:38 Oh, we didn't tell you there's a mic on Mojave?
14:33 Patch Example - "Gypsum"
15:00 Patch Example - "Mic-Check"
15:56 Patch Example - "Interstellar Beats"
___________________________________________

https://www.qubitelectronix.com/

Press release follows:



SAN CLEMENTE, CA, USA: Q-Bit Electronix is proud to announce availability of the Mojave module as its latest Daisy platform- based Eurorack entry — effectively kicking up a granular sandstorm as a live granular processor drawing inspiration from vast swathes of its American Southwest desert namesake by using microscopic bits of audio to create beautifully-crafted sonic landscapes while reinventing the way we interact with sound, seriously backing up the self-proclaimed ‘Future Coast’ modular synth-maker’s philosophy of building bespoke devices that push the boundaries of design beyond what is presently possible in the process — as of October 10…

It is fair to say that Mojave is a stereo live granular processor at its creative core, but, in reality, it is capable of so much more — not least when being pressed into play as a stochastic event generator. Mojave makes it possible for explorative users to patch together feedback-driven glitch textures or compose harmonic symphonies from a single droning oscillator. Other possibilities include creating a granular delay or scrubbing a locked audio buffer to create time-stretching effects — and all directly from the front panel of this 14HP-wide module.

Mojave can — in many ways — behave exactly like other granular processors, but what sets it apart in this realm is its ability to take complex granular manipulations and make then accessible to even the most novice of users. “Our first module ever was Nebulae, a granular looper; we've always wanted to do a fully-committed, live granular processor but with a ‘New-Bit’ twist,” confirms Qu-Bit Electronix CEO — and company co-founder — Andrew Ikenberry. Indeed, that ‘New-Bit’ moniker really reflects the company’s collective internal name for its new design philosophy of focusing on hands-on, approachable devices that leave room for users to push their own technique and explore sound design in new ways.

With this in mind, Mojave is no exception to this rule; for its front panel includes the fundamental controls for generating and manipulating grains — themselves the tiny building blocks of granular synthesis. Adjust a grain size, shape, and generation rate while also having control over the grain pitch, the position in time where the grain grabs audio, and the audio playback direction. Though these controls are essentially found in any granular processor, they only scratch the surface of Mojave’s potential.

Put it this way, then: the key to Mojave’s magic resides in the controls at the centre of the module. The two larger knobs there are absolute attention-grabbers — and for good reason, providing aleatoric grain manipulations in exciting, unquestionably ‘Qu-Bity’ ways. Turn the distribute knob to add rhythmic displacement to the grain rate; depending on which Mojave mode is selected, distribute’s displacement can either be asynchronous movements through time or quantised ratchets, repeats, and rolls that liven up the simplest of rhythms. Representing the flip side of the granular coin, as it were, the structure knob adjusts each grain’s pitch within a defined system. structure can — at its smallest setting — provide subtle semitone pitch changes, perfect for thickening up a sound, creating chorus/flanging effects, and more. But by turning up structure beyond halfway, Mojave begins to sing. structure starts to play through a quantised scale, introducing arpeggios and trills as the knob ventures further up; with the grain size large enough for grains to overlap, Mojave effortlessly transforms into a polyphonic sound generator — regardless of input.

Said structure knob and its rate (speed) neighbour are connected to Mojave’s Sky Mode — itself selected using the button in between distribute and structure — that determines what scale Mojave is quantised to. The default modes include major, minor, and chromatic scales, as well as the aptly-named, non-quantised Twilight Mode. Moreover, each mode will be fully customisable — alongside a host of configurable settings — within Narwhal, Q-Bit Electronix’s module web app (https://narwhal.qubitelectronix.com/) for custom settings.

Since Mojave boasts true stereo I/O, it includes a couple of controls that emphasise this characteristic. drift does exactly as its name implies; it drifts the grains through the audio buffer, and the more the knob is turned, the more Mojave begins to slip into the past, grabbing random bits of audio from both signal channels to fill its grains. An adjacent whirl control provides random stereo panning to each generated grain; the more this knob is turned, the more frequent and wider the grains are panned, creating huge stereo sounds from any sound source — stereo or monophonic.

Mojave has more than one way to inject sound into its granular sandstorm, speaking of sound sources. Indeed, it even has an onboard, high-quality MEMS (Micro- Electro-Mechanical System) microphone that is positioned just above its USB port; simply removing any patch cables from Mojave’s audio inputs makes the microphone active, ready to pick up any acoustic audio! Try talking or singing into Mojave — or even play an acoustic instrument in a live setting — to bring granular flair to compositions.

Clearly, then, Mojave is primarily designed for live granular processing, yet users are afforded an ability to not only freeze the grains in place for glitch stutter effects, but they are also able to lock the audio buffer in place, thereby using Mojave as a granular buffer scrub; Mojave — at the right settings — can even mimic the time- stretching effects of its bigger granular sampler and DSP (Digital Signal Processing) platform sibling, Nebulae, now benefitting from v2.1.2 firmware itself. It is worth noting here that future firmware updates and alternative firmware for Mojave are accessible via its USB drive.

Meanwhile, Mojave’s granular engine can generate a plethora of audio effects that will transform any sound. Saying that, Q-Bit Electronix even included one final end-of- chain control to add some sparkle to an already dazzling device — namely, the gust knob. Which way it is turned determines control over either an internal feedback loop designed to tear grains apart in the best way or a lush reverb effect to fill the voids between the audio — alternatively, granular-textures-into-a-wash-of sound-morphing.

“Mojave is the module that’s gotten me excited about patching again,” admits Andrew Ikenberry, alluding to its configurable dune CV/Gate output and more connectivity besides, before enthusiastically continuing towards a natural conclusion: “There is something to be said about designing individual aspects of a module, not fully knowing how each part will interact with another; as such, Mojave has created sounds that I’ve never heard before, and it’s this journey into the unknown that — as a designer — gives me the opportunity to sit down and discover every corner of this amazing device along with everyone else.”

Check with dealers on the right for availability.

Stoicism //SIG+/XPO/QPAS/Mimeophon//

video upload by Aleatoric Machine

"A self-playing Eurorack modular synthesizer patch featuring Make Noise’s XPO, QPAS & Mimeophon, and Stochastic Instruments’ Stochastic Inspiration Generator (SIG+). Plus many more modules described below.

Everything you hear in this is coming from a single monophonic sequence from the SIG+ and a single Make Noise XPO. I’m pretty amazed by how much variety of tone and texture can come from this single oscillator, all at the same time. The different waveform outputs are each running through their own VCAs, filters, triggers, and effects, but the melodic content is all the same. I’ll go through the sequencing in a minute, but first I’m going to focus on the audio signal paths.

Overall, the XPO’s L & R modulation are controlled by a triangle LFO coming from Acid Rain’s Maestro.

The first output is the stereo square wave, which goes through QPAS and Mimeophon, then into the mixer. QPAS’s L & R rotation and Q are modulated by two different smooth random waves from ALM’s Pamela’s Pro Workout. Mimeophon’s repeats are modulated by a smooth random wave coming from Maestro. This voice is triggered by a bouncing ball coming from Make Noise’s Maths.

The second output is the mono triangle wave, which first goes through an Intellijel 1U VCA, then uses Intellijel’s 1U pedal I/O to go through a Chase Bliss Mood (repeats tuned up a 5th) and Chase Bliss Dark World, then into the mixer. This voice is triggered by another bouncing ball from another Maths.

The third output is the mono sawtooth wave, which goes through channel one of a Make Noise ModDemix, an Intellijel Morgasmatron (with panning controlled by separate LFOs going to the L & R FM1 inputs - LFO 1 coming from Mutable Instruments’ Tides and LFO 2 coming from Intellijel’s Rubicon 2), then a Happy Nerding FX Aid XL running a flanger algorithm, then into the mixer. This voice is triggered by a repetitive Euclidian rhythm coming from Acid Rain Constellation and Doepfer Dual ADSR.

The last output is the spike wave going through channel two of the ModDemix, a Doepfer Multimode VCF, and Strymon’s Magneto in shift mode, then into the mixer. Magneto’s repeats are modulated by another smooth random wave coming from Maestro. This voice is triggered by a slower Euclidean rhythm coming from Constellation and Make Noise’s Contour.

Each voice goes into Doepfer’s VC Stereo Mixer, which has a built in VCA on each channel. The level of each voice is independently controlled by a separate smooth random wave from Pam, so the mix is constantly evolving. The voltages coming from Pam are further slewed by Mutable Instruments’ Stages, since the smooth random wave from Pam can still have some sharp edges. Then the whole mix goes through a 2HP Verb, with the reverb mix modulated by another smooth random wave from Pam, and finally through Endorphines’ Golden Master, which connects directly to the Intellijel 7U Performance Case’s built in audio outputs.

Now for the melodic content and harmonic structure. This is all driven by Stochastic Instruments’ Stochastic Inspiration Generator (my first patch with it!). This is an incredible module. I won’t go into everything it does, as there are already a couple very helpful videos out there on that, but suffice it to say that it lives up to its name! I’m using multiple channels, each with its own tonality, then cycling through those via an ALM Boss Bow Two switch to determine which channel will control the v/oct pitch of the XPO. The Boss Bow’s channel is control by a sequence coming from another Stages. Channel one is just a low C, to establish the primary key. Channel two randomly selects pitches from a C major chord, with low C in the bass. Channel three selects pitches from an F minor chord, with an occasional 2nd and 4th and a low F in the bass. Channel 4 selects pitches from a D flat major chord, with an occasional 6th and a low D flat in the bass.

I’m not sure if this is indeterminate enough to be considered generative, since the harmonic content is fairly structured, even if the melody, rhythm, and balance of the parts are all random. It’s more, well, aleatoric. I hope you enjoy it (although I realize than if you are into this sort of thing, you are born of a special breed!)."

Stochastic Inspiration Generator SIG and Prepared Piano

video upload by Friendly Noise

"Using the Befaco voltage to midi converter VCMC and Stochastic I struments SIG to play a VST piano plugin within the DAW. Some details included in the video.

Modules: Befaco VCMC, Stochastic Instruments SIG Stochastic Inspiration Generator."

“SIG 03 - Meet Chromaphone” by Friendly Noise

video upload by Friendly Noise

"The amazing Befaco Voltage Controlled Midi Converter (VCMC) allows you to convert analog signals like voltages and gates into midi messages with microscopic detail and programmability. I think that SIG and VCMC can be best friends, because with VCMC you can record the output of SIG as midi data in the DAW of your choice, for later editing, cut and paste, …

Modules: Stochastic Instruments Stochastic Inspiration Generator + Expander, Befaco VCMC.
VST: AAS Chromaphone."

“Stochastic Inspiration Generator 02 - Percussive” by Friendly Noise

video upload by Friendly Noise

"Modules: Stochastic Instruments Stochastic Inspiration Generator + Expander, Schlappi Engineering Angle Grinder, Schlappi Engineering 100 Grit, SSF Vortices, Intellijel Quadrax, Intellijel Planar, Joranalogue Generate 3, Joranalogue Filter 8, Xaoc Kamieniec, Xaoc Tallin, Dave Rossum Panharmonium, Qu-bit Data Bender, Befaco Rampage. + Strymon Nightsky reverb."

Stochastic Inspiration Generator Demo

video upload by brandon logic

"four melodic voices controlled by the Stochastic Inspiration Generator."

Update:

Stochastic Inspiration Generator demo 2

Pear

video by UncertainMusicCorps

"A duet between MI Marbles and the Stochastic Inspiration Generator (https://www.stochasticinstruments.com...​). Two quite different approaches to achieve generative outcomes.

Marbles pairs with Plaits. SIG controls Disting EX Wavetable oscillator. SWN does drone duties"

The Stochastic Inspiration Generator was first posted here with a blue face panel by Omsonic Lab. This one appears to be re-branded under Stochastic Instruments, which technically makes this the first Stochastic Instruments post.

Info on the module:

"Each event the Stochastic Inspiration Generator creates has its pitch, octave, duration, onset, offset, portamento and ratchet set by probability controls. You can exert as much or as little control over what the next event will be as you wish. This could be very simple (e.g. raise C, E, G and 1/16 to 100% and you have a random arpeggiator kicking out constant 1/16 ) or something much more interesting…

The Inspiration Generator leverages tonal harmony by exploiting its statistical hierarchy of pitches: some notes turn up a lot, some not so much, some not at all. Being ‘in’ C Major means having lots of Cs, quite a lot of Gs and Es, a few Fs, some Ds, As and Bs, but no C#s, D#s, F#s, G#s, A#s. Set the note probabilities accordingly and Stochastic will spontaneously jam in C Major. Shift the probabilities, and you morph the tonality, key or mode they define into new tonal landscapes.

It knows all the musical parameters that shape a line: you can probablise the overall octave range over which it improvises (‘register’) and the octave offsets of each note. Bass notes define harmony and inversion, so you can imply a change of C Root to C 1st Inversion by initially dropping only the Cs by 2 octaves and then swapping to drop only the Es, all in live performance. You can even set the likelihood that melodies will be stepwise or more angular. It also knows about rhythm: you can set the likelihood that each subsequent note will be any value from an 8 bar drone to constant 1/16 pulses. And Stochastic can loop: if it suddenly strikes melody gold, hit Loop, define your loop length, release, and it will loop the phrase until you suspend loop. Hit Loop again to return to the saved loop, or hold to overwrite a new one."

New GS Music Zeus Analog Polyphonic & Apollo Mini Desktop Synthesizers

Zeus analog polyphonic synthesizer demo Published on Sep 21, 2019 GS Music

"A short demo of the sounds that can be achieved with Zeus, the analog polyphonic synthesizer made by GS Music."

This one was spotted and sent in via Soviet Space Child.

New synths from GS Music who brought us the Apollo II desktop synth & the Stochastic Inspiration Generator eurorack module. Pics and (Google translated) details of the Apollo Mini follow via http://www.gsmusic.com.ar.

No additional details on the Zeus are up as of this post. Update:details are in:

"Zeus is a multitimbral analog polyphonic synthesizer featuring substractive synthesis. The sound generation is entirely analog. Each voice has two voltage controlled oscillators (VCO), a mixer, a voltage controlled amplifier (VCA). The control signals on each voice are digitally generated by a microcontroller, which is capale of processing three low frequency oscillators (LFO) and two ADSR envelopes (EG). This synthesizer is still a prototype.

Zeus interface was designed to be intuitive with all the controls on the panel. It also features a graphic display to show the different parameters and curves. For example, it can show the envelope curves.


Specifications

Keyboard: 49 keys, velocity sensitive with aftertouch
Polyphony: 12
Oscillators: 2 voltage-controlled analog oscillators (VCO) with sub-oscillators. Hard sync.
Oscillators waveshapes: Triangular, Saw-Tri, Sawtooth, Pulse with PWM. It is possible tomix pulse with other waveshape
Filter (VCF): 24dB/oct (4 poles) low pass filter with resonance control
Envelopes: 2* (Attack, Decay, Sustain, Release), Velocity to Attack
LFO: 3
LFO waveshapes: Triangular, Rampa up, Rampa down, Square, Sample and Hold
Effects: Chorus, Delay
Presets: TBD
Connections: MIDI IN, MIDI OUT, MIDI Thru, Audio Output (Plug 1/4” TRS balanceado), Sustain, USB, Filter CV, Amplifier CV, Audio input.
Power supply: AC 220V"

via http://www.gsmusic.com.ar/productos/Zeus-en.html

"The GS Apollo Mini is an analog subtractive synthesis synthesizer. The sound is generated in a totally analog way, with two voltage controlled oscillators (VCO), a mixer, a voltage controlled filter (VCF) and a voltage controlled amplifier (VCA). The control signals are digitally generated by a microcontroller, which is capable of processing two low frequency oscillators (LFO) and one envelope (EG) of the ADSR type.

The Gs Apollo Mini interface was designed to be simple and intuitive. It has 18 knobs and 3 buttons. It allows to generate a great variety of sounds.

specs

Polyphony: Monophonic, priority to the last note

Oscillators: 2 voltage controlled analog oscillators (VCO) with sub oscillators.

Oscillator waveforms: Sawtooth, Pulse

Filter (VCF): Low pass filter of 24dB / Oct (4 poles) with resonance control.

Envelopes: 1 (Attack, Decay, Sustain, Release)

LFO: 2 *

LFO waveforms: Triangular, Ramp up, Ramp down, Square

Connections: MIDI IN, USB, Audio Output (Plug 1/4 "TRS balanced)

Power: DC 12V 1A

Dimensions: 215mm x 105mm x 57mm

Weight: 0.78 kg

Dimensions (with packaging): 280mm x 190mm x 95mm

Weight (with packaging): 1.2 kg

* Only one LFO is controllable from the panel. The corresponding MIDI CC must be used to access the other LFO. By default, the additional LFO is activated with the aftertouch or the modulation wheel."

omsonic & dBs Music - Stochastic Inspiration Generator - COMING SOON !

Published on Jul 28, 2019 omsonic

"COMING SOON ! The Stochastic Inspiration Generator ! Its a unique module that responds to your probabilistic musical direction but you don’t play ‘on’ it, you duet with it by starting with the fundamental musical atoms and controlling how likely different pitch, duration, octave and transition events will be using its controls."

via Omsonic:

"What Is It ?

not a traditional sequencer – it doesn’t repeat itself (unless you tell it to!)
not a probability sequencer – you don’t program fixed steps for variation
not a random source – you can control what it will do (within limits)
not a chaotic source – identical initial conditions don’t produce identical output

Stochastic is an Inspiration Generator ! Its a unique sequencer module that responds to your probabilistic musical direction but you don’t play ‘on’ it, you duet with it by starting with the fundamental musical atoms and controlling how likely different pitch, duration, octave and transition events will be using its controls.

Overview

Each event Stochastic generates has its pitch, octave, duration, onset, offset, portamento and ratchet set by probability controls. You can exert as much or as little control over what the next event will be as you wish. This could be very simple (e.g. raise C, E, G and 1/16 to 100% and you have a random arpeggiator kicking out constant 1/16 ) or something much more interesting…

Stochastic leverages tonal harmony by exploiting its statistical hierarchy of pitches: some notes turn up a lot, some not so much, some not at all. Being ‘in’ C Major means having lots of Cs, quite a lot of Gs and Es, a few Fs, some Ds, As and Bs, but no C#s, D#s, F#s, G#s, A#s. Set the note probabilities accordingly and Stochastic will spontaneously jam in C Major. Shift the probabilities, and you morph the tonality, key or mode they define into new tonal landscapes.

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