Patch Notes #21 - Sequencing w/ DU-SEQ, 0-Coast and more

Published on Oct 1, 2016 Voltage Control Lab

"This episode is exploring both our latest rubber band control on the Vintage Synth Labs VCF-74 Pulse Tips and the direction & address functionality of the DU-SEQ Eurorack sequencer.

Four voices here, clocked from the Make Noise Tempi including the DU MDLR DU-SEQ, which is sending pitch and gate to the Make Noise 0-Coast. The 0-Coast stepped random out is routed to the overtone section, while the cycling slope section is routed into the FM input. The 0-Coast is then routed out to the Vintage Synth Labs VCF-74, which has it's cutoff knobs rubber banded together, and through the Mutable Instruments Warps Parasite alt firmware ping pong delay. The DU-SEQ address is being modulated by a cycling channel 1 on Maths, from the variable output. The clock output is routed to the Malekko Varigate 4, which is sending one randomized gate pattern to the External Gate input 1 on the DU-SEQ.

The Varigate is also sending a randomized pattern to Mutable Instruments Braids, triggering the internal envelope in the Bees in the Trees alt firmware. As well, Braids is in Meta mode, modulated by the smooth random output on the Make Noise Wogglebug. The cycling channel 4 on Maths is modulating the timbre control, with a looping channel on the Intellijel Dual ADSR modulating the color control.

The pitch is modulated via the S&H circuit on the Sputnik Modular West Coast Random Source. The white noise source is routed to the S&H input, which is being triggered by a 4x clock from the Synthetic Sound Labs Modulation Orgy (which is being clocked by Tempi).

One of the fluctuating random outputs from the West Coast Random Source is routed to the attack input on the Noise Engineering Basimilus Iteritas. The stepped random function from the Modulation Orgy is routed to the pitch. The 4 channels of LFOs on the Ornament & Crime are routed to the decay, fold, harm and spread inputs. The Wogglebug bouncing output is routed to the morph control. The BI is clocked by two source joined through the Doepfer A-151-2 Sequential Switch. One signal from the Tempi, another from the stepped random output on the Wogglebug. One channel on the Make Noise Pressure Points is toggling between the sequences every 4 steps, while another is resetting the switch on the following step.

The bass is coming from the Tiptop Audio Z-3000, with the sawtooth wave routed out through the Make Noise Optomix. A sine wave from the Make Noise DPO is routed to the other channel on the Optomix, and then out to the Z-3000 FM input. Both channels on the Optomix are being opened by the Malekko ADLFO, which is triggered via the Make Noise René (also routed from the QCV to the 1v/oct input on the Z-3000).

Everything through the Malekko Mix 4 and out, with a slight bit of dynamics processing to even out the peaks in the recording.

https://www.voltagecontrollab.com/"

Patch Notes #11 - Analog Shift Register with Ornament & Crime

Published on Aug 3, 2016 Voltage Control Lab

"Patch Notes in the description! Our musical exploration of the Analog Shift Register function in Copier Maschine mode in the marvelous Ornament & Crime DIY Eurorack module.

The Analog Shift Register sequences are being triggered by Make Noise Tempi into the Tr1 input on Ornament & Crime. A channel of Make Noise Maths acts as the S&H CV source routed through the external influence input on the Wogglebug, then out of the stepped random output into the CV1 input on the O&C. Channel A of the O&C is routed to the Sputnik Oscillator, B to the Malekko Anti-Oscillator, C to Mutable Braids, D to the Tiptop Z3000.

All of the oscillators are in tune, each sending a triangle wave out to the Malekko Mix4, which is routed up to Mutable Ripples filter. Out from the LP4 output on Ripples into a channel on the Make Noise Optomix low pass gate. The filter cutoff on Ripples is modulated by the cycling channel 1 on Maths, which in turn is being modulated by the smooth random output from the Wogglebug.

Another channel from Tempi is used to trigger the Intellijel Dual ADSR, which is modulating the Optomix channel in time with the sequence shifting. Channel C on the Malekko Varigate is routed to retrigger the envelope to add some randomized polyrhythmic action to the chords.

The bass is coming from the Make Noise DPO, receiving a 12 step sequence from the Korg SQ-1 which is being clocked from Tempi. The Final output is routed through the Make Noise MMG filter in low pass mode, and on to another channel on the Optomix, which is being modulated by an envelope on the Malekko ADLFO (triggered by the SQ1 sequence).

A channel from Pressure Points is routed to the external FM in on the main channel on the DPO, with the four steps tuned to harmonically modulate the sequence when that touchplate is triggered.

The kick is coming from the Malekko Dual Borg/Envelator combo, the snare from the Noise Engineering Basimilus Iteritas, and the hihat from the Scooper, both drums routed through the Scooper inputs and out along with the hihat sound. Each pattern is programmed and triggered from the Varigate, which is being clocked and reset by Tempi.

The mix output from the Optomix is routed through the delay in Mutable Warps Parasite firmware.

https://www.voltagecontrollab.com/"

Patch Notes #24 - Radio Music Eurorack Drum Machine

Published on Oct 20, 2016 Voltage Control Lab

"Patch Notes #24 explores the Music Thing Radio Music Eurorack sample player module with looping disabled in the settings (as seen in our recent tutorial) rendering it a one-shot sampler.

The main clock is coming from the Malekko Varigate 4. Channel 1 is triggering the custom kick drum samples loaded into the Music Thing Radio Music, with looping disabled in the Radio Music settings.txt file.

Channel 2 is clocking the Ornament & Crime, which is generating 3 channels of Turing Machine semi-randomized sequences. One sequence is shifting the station on the Radio Music, switching samples. Another Turing sequence is routed to the Noise Engineering Basimilus Iteritas pitch, while a third sequence is modulating the envelope decay on the metallic tones being created.

Channel 3 on the Varigate 4 is routed into the clock input on the DU-SEQ, which is running a 5 step pattern, controlling the gate and pitch on the Make Noise 0-Coast. The pitch signal is routed through Maths channel 2 first, then out from the Sum output to the 0-Coast pitch CV input. One channel from the Pressure Points is also routed into channel 3 on Maths, adding the CV to the pitch input at channel 2, allowing for the transposed sequence. The 0-Coast is routed out through the Vintage Synth Labs VCF-74, and on to the Mutable Instruments Warps running the Parasites firmware for some delay (I like this routing a lot).

The clock output from the DU-SEQ is routed to the 4MS Rotating Clock Divider, which is sending a pulse for every 4 input clock triggers to the clock sync input on the Korg SQ-1. The CV A output is routed to the pitch input on the Mutable Instruments Braids. The stepped random and woggle outputs from the Make Noise Wogglebug are routed to the Braids Timbre CV input and the BI Harm input.

Channel 4 on the Varigate is routed to the Basimilus trigger input. Everything is routed through the Malekko Mix 4 and then out to the audio interface.

https://www.voltagecontrollab.com/"

Patch Notes #5 - Ornament & Crime Harrington 1200 Mode

Published on Jul 13, 2016 Voltage Control Lab

"Patch Notes from our recent exploration of the Neo-Riemannian chord generating Harrington 1200 mode in the Ornament & Crime Eurorack module.

Tempi is the central clock, first routed to the X clock in on René in snake mode, which is playing back an 8 step pattern. QCV output is routed to CV 1 input on Ornament & Crime as the root note source sequence.

O&C is routed to 3 oscillators, Mutable Braids, Malekko Richter Anti-Oscillator and Sputnik Oscillator, each sending a triangle wave shape through the three channel inputs on the Make Noise Optomix, which is acting as a mixer in this case.

The mixed output is sent to the Make Noise MMG Filter in Low Pass mode and then through another homemade VCA, both modulated by the two envelopes on the Intellijel Dual ADSR.

Tempi is also clocking Pressure Points via Brains, which is controlling chord inversion on the O&C.

Tempi is clocking the Varigate 4 as well, which is routed to trigger a Malekko Dual Borg Filter Kick, a snare in the Basimilus and a hihat in the Scooper. The 4th output is randomizing hits and repeated triggers on the Dual ADSR, to give the chords some more complex rhythmic action.

All of these sounds are mixed through the Mix4, and then through Warps Parasite delays. I think that's it!

https://www.voltagecontrollab.com/"

Patch Notes #8 - Korg SQ-1 Eurorack Modulations

Published on Jul 24, 2016 Voltage Control Lab

"Episode #8 of Patch Notes explores the Korg SQ-1 as a Eurorack modulation source, controlling the pitch of the bass on one channel, and wobble rate on the other.

Tempi is clocking SQ1, which has an 8 step sequence with a 2 volt range on Channel A controlling the wobble rate on the Slope section of the 0-Coast. A 4 step sequence on Channel B is controlling the pitch of the 0-Coast Oscillator, which is playing the bass part.

Tempi is also clocking the René, the QCV output of which is controlling the pitch on Braids, while the fluctuating random out from the Wogglebug modulates the FM input in Meta mode, scrubbing through the wave programs. The stepped random output on the 0-Coast is multed and routed to both the Timbre and Color controls on the Braids.

Braids is routed through Ripples VCA output, which is being triggered via Maths Channel 4. The Fall time is modulated by the CV output from René. Channel 1 is cycling in a long triangle shape, and output to the 1v/oct input on the TipTop Audio Z3000. The sine output is routed to the Ripples FM input.

Tempi is also clocking Brains and Pressure Points, modulating the Basimilus Iteritas Decay, retriggering the cycling Slope section of the 0-Coast, and sending 2 rows of PP through the Doepfer 151-2 Sequential Switch. From the 151-2, the sequence is sent on to the Ornament and Crime CV 4 input, which is modulating the channel D Euclidean Fill amount in Piqued mode (also clocked by Tempi).

Ornament and Crime is then routed out to the Envelator, which is modulating both filters on the Dual Borg, to produce the kick drum.

The Sputnik Oscillator and Malekko Anti-Oscillator are generating LFOs and cross-modulating each other, each then routed to modulate the PItch, Morph, Fold, and Spread on the BI.

Trigger sequences for Braids and the BI are coming from the Varigate 4, each with heavily randomized note probability and repeats. All channels are then routed through the Mix4 and on to Warps for some delay magic.

https://www.voltagecontrollab.com/"

You can find all parts in reverse order here.

Patch Notes #1 - Euclidean Rhythms with Ornament & Crime

Published on Jun 30, 2016 Voltage Control Lab

"Our first patch example using an expanded version of the routing used in our previous tutorial exploring Euclidean Rhythms and envelopes in the Ornament & Crime eurorack module.

All 4 Euclidean Rhythm generators in Ornament & Crime are clocked by the Make Noise Tempi, which is also clocking the Wogglebug and the René X and Y clock inputs (at different rates). René is in snake mode, modulating the X CV in with the Wogglebug S&H output, Y CV by the slowly cycling Malekko ADLFO. Four channels from MN Pressure Points/Analog Memory routed to the Ornament & Crime channels modulating Euclidean Fill values on each respective channel.

The 4 channels of Euclidean Rhythms are routed to: Mutable Instruments Braids in Meta mode modulated by René; the Noise Engineering Basimilus Iteritas in a skin/bass mode playing a short, noisy snare; the Roland Scooper which has a noise-based hihat sound whose length is being modulated by another slow ADLFO cycle; the Malekko Envelator which is triggering/modulating a resonant filter Kick in the Malekko Dual Borg. All mixed through a Malekko Mix 4 and then patched through Mutable Warps running Parasites in ping-pong delay mode.

Rhythm control is almost entirely controlled by the 4 channels of Pressure Points, changing the number of filled steps in the generated rhythms from off up to 32 steps.

https://www.voltagecontrollab.com/"

Patch Notes #26 - Generative Eurorack Jam

Published on Nov 25, 2016 Voltage Control Lab

"Exploring a generative patch using the Ornament & Crime Turing Machine mode along with some slightly randomized drums from the Varigate and some smooth tones from the DPO and Clouds.

The Ornament & Crime is in Quantermain mode, generating a single Turing Machine on channel D, clocked by the Make Noise Tempi and Turing probability modulated by a channel on Analog Memory. Tempi is also clocking Brains and Pressure Points, one channel of the connect Analog Memory module is routed through channel 3 on Maths, and then into the Ornament & Crime CV4 input.


This is the crux of the generative voice. The slowly stepping Analog Memory switches the O&C 100% chance of a randomized value on one step, then around 5% chance on the next step, and 0% chance on the last two steps. This means every 4 bars or so, the phrase is randomized to a degree.

The generative sequence is routed to the Make Noise DPO, onto the MMG filter via the Final output and then to the Optomix. The signal is then passed through Mutable Instruments Clouds running the Parasites firmware in Oliverb mode (updated this easily via the SpektroAudio ALTRNT website), and on to the Malekko Mix4 and out. The Malekko Varigate 4 is triggering an envelope on the AD/LFO, which is opening the Optomix.


Clouds is being heavily modulated. A sine wave LFO from the TipTop Audio Z3000 is modulating the decay time control, while the triangle wave is modulating the pre-delay. The right output from Clouds is fed back into the Z3000 waveshaper input and the sine wave out from the DPO modulation oscillator is routed to the FM input as well, further complicating sine and triangle waves. The stepped and smooth random outputs from the Make Noise Wogglebug are also modulating Clouds reverb size and damping filter respectively.


Tempi is clocking and resetting the Varigate which is already triggering the generative voice. In addition, one channel is triggering the Noise Engineering Basimilus Iteritas which is acting as the snare. The BI is then passed through Mutable Instruments Warps in Parasites firmware delay mode, and out to the Mix4.


The kick and hihat are both sequenced on the Varigate as well, triggering the Roland Scooper via a few envelopes on the ADLFO.


The bass is sequenced via the DU-SEQ (clocked by Tempi), which is playing Mutable Instruments Braids. A looping envelope on the Intellijel Dual ADSR is modulating the Braids color input, giving some motion to the bass tone.


https://www.voltagecontrollab.com/"

Patch Notes #3 - Karplus Strong with Mutable Warps Parasite

Published on Jul 8, 2016 Voltage Control Lab

"Here's a patch using the Karplus Strong string synthesis patch with the Mutable Instruments Warps Parasite firmware delay modes, based on our most recent Eurorack modular synth tutorial.

Braids is routed through one channel on the Optomix, where it is modulated by an envelope from the ADLFO triggered by Euclidean Rhythms from the Ornament and Crime. The attenuated signal is then sent to Warps to excite the delay. The Karplus tone is being excited using the chord based wavetable mode in Braids rather than a noise source as we heard in the tutorial.

Warps is then routed through another channel on Optomix and then out to a mixer. The VCA is being opened by a channel on Maths, tweaking the decay time throughout.

The kick drum is coming from the Basimilus Iteritas, pitch modulated with an envelope from Maths to give it some punch. Hihat is a noise based signal based in the Scooper. All signals are being rhythmically triggered via the Ornament and Crime, which is in turn being clocked from Tempi. Pressure Points and Brains are used to modulate Euclidean Fill amounts on the three voices.

Tempi also clocking the Wogglebug and X-clock on René, with the Wogglebug stepped random out routed to the Y-CV input. The chaos knob is increased throughout to add some random shifting to the René pattern, which is modulating the delay time on Warps, creating the melodic sequence.


https://www.voltagecontrollab.com/"

Patch Notes #4 - Odd Clocks With Make Noise René

Published on Jul 10, 2016 Voltage Control Lab

"Here's an example of a one of the more popular Eurorack sequencers, Make Noise René, modulating the pattern position using stepped random voltages.

Tempi is routed to the X-clock input on René, as well as a 16th note triplet division clocking the Wogglebug. The stepped random output from the Wogglebug is routed to the Y-CV input on the René.

When the Chaos knob on the Wogglebug is set to zero, the longer notes play back the root position, bass line notes along the X axis (left to right). As the Chaos knob rises, the 16th note triplet stepped random voltages begin to effect the Y axis position, creating the effect of arpeggiation.

Tempi is also routed to the Ornament & Crime, which is generating 24-step Euclidean rhythms to both the hihat and the snare-ish sound (a noise-based hihat from Scooper, and a snare from the Basimilus Iteritas.

Tempi is also clocking the Varigate which is driving a kick drum from Braids. All of the sound generating modules are routed to the Mix4, and then through Warps running a delay from the Parasite firmware.

The 0-Coast is receiving a clock from Tempi as well. The internal stepped random function is mult-ed, then sent to the Overtone and Multiply section inputs. The Oscillator square wave is routed to trigger the Slope section, which is tuned to generate sub-oscillator tones, then Slope output to balance input so the signal can be mixed between the sub tone and the overtone signal.

https://www.voltagecontrollab.com/"

All parts.

Patch Notes #2 - 0-Coast Hidden LFOs

Published on Jul 3, 2016 Voltage Control Lab

"Here's a patch example using the hidden LFOs and other functions in the Make Noise 0-Coast synth as the main voice, with another Euclidean Rhythm based drum part with the Ornament & Crime.

The 0-Coast is the melodic voice, sweeping between the clean triangle wave shape and the additive, overtone shape from time to time.

The note sequence is coming from the René, which is being clocked by Tempi to the X clock and a slower odd tempo to the Y clock from Tempi via the Wogglebug, which is also sending slewed random voltages to the Y CV in. Then the gate from René is routed to the Contour (ADSR envelope) section, which controls the Dynamics (VCFA). The sustain is turned down in the Contour section, resulting in a basic attack/decay envelope, with the decay time modulated by the triangle wave LFO from the MIDI B CV output (as covered in the related tutorial).

The Slope (cycling AD envelope) section has cycle disabled, and is being triggered at an audio rate by the Oscillator square wave output. The rise and fall times are set to zero, and the vari-response knob is set to exponential, creating an extremely short envelope shape. The Slope output is then routed into the Oscillator FM input. The Stepped Random output is sent through the signal mult to the Oscillator Multiply attenuverter, while the square wave hidden LFO is routed to the Overtone attenuator.

Tempi is also clocking the Ornament & Crime, which is running 3 channels of Euclidean rhythms to a kick in Braids, a snare with the Basimilius Iteritas, and a hihat in the Scooper, with the Euclidean fill amount on each sequence modulated by the three channels on Pressure Points clocked from Brains.

https://www.voltagecontrollab.com/"

Patch Notes #23 - Quad Turing Machine Mode in Ornament & Crime

Published on Oct 14, 2016 Voltage Control Lab

"Testing the deeper functions in Quantermain mode in Ornament & Crime, the quad turing machine mode to be precise! This is an extremely useful and exciting module.

A clock coming from Make Noise Tempi, which is sequencing the 0-Coast. The 0-Coast is routed to the Mutable Instruments Warps for some delay through the Parasites alt firmware, and on to the Malekko Mix4.

Tempi is also clocking the Malekko Varigate 4. One channel is triggering the Slope section in the 0-Coast, which is not modulating the 0-Coast, but rather shaping the kick drum routing inside the Roland Scooper which is also routed on to the Mix4.

Another channel on the Varigate is routed to trigger the Noise Engineering Basimilus Iteritas. All 4 channels on the Ornament & Crime are modulating functions on the BI: pitch, decay, morph and fold. All 4 channels are triggered by Tempi at the TR1 input.

Make Noise René is also receiving clock from Tempi, sending it's QCV out to the DPO, and Xgate out to the Malekko ADLFO. The DPO final out is sent to the Optomix, and then out from the mix output to the Mix4. One channel on the ADLFO is routed to the Optomix channel to open LPG, another is controlling FM depth between the oscillators on the DPO.

The Roland System 1m is played live via the Qunexus keyboard, routed out through the Aux input on the Optomix.

https://www.voltagecontrollab.com/"

tangible waves AE modular - a modular synthesizer for everyone

Full details via the Kickstarter campaign:

"A true analog modular synthesizer - small in size, small in price, big in sound

For sure, you want to know first "how does this thing sound?", so here are some Demo-Videos that give you a first impression (the first one together with a Groovebox):

AE modular Demo MIDI Sync with Novation CIRCUIT

Published on Nov 9, 2016 tangible waves



How did it all started?

It started with the idea to build a Lunetta style synth (a synth based on digital logic chips (mis)using them for creating sound, a creation of Stanley Lunetta, therefore the name). For me it is also appealing to have the devices very compact (the KORG Volca series gave me lots of inspiration here), so I defined a small module format (about 10 x 2.5 cm). I liked the concept of abusing electronic parts, which gave the project it's name (AE: abused electronics).

Over the time I felt the wish to add this or that 'conventional' module, like Filter, Envelope, VCA, and one by one I ended up building a "standard" modular synthesizer!

What's special?

Compared to the usual Eurorack Modular Synths, we have some differences here, mainly to get a small form factor and cutting the price:

Modules are not Eurorack compatible

The Oscillators module is not working in 1V/octave standard (due to the roots in the Lunetta approach); but a 1V/octave VCO will be added soon to the modules palette

Patching is done via simple patch-wires and small pin-sockets (not minijack-cables as in the eurorack-world); this cuts the cost drastically and also saves a lot of space on the module. Another advantage: Module outputs are mostly dual or triple, which makes "Multiples" modules obsolete

Generally, AE modular follows the "not-so-perfect" approach; circuits are sometimes simplified and show their own character in some points - it's intentionally a contrast to the high-polished stuff we get from digital synths / DAWs / plugins. But always the usage as an artistic tool is considered!

The design style is also a little special: The frontpanels are not (expensively) printed, but rubber-stamped; I like this somehow "unperfect" look - I hope you too! (Don't worry: a special, durable color is used.)

What's not different is, that you get a real modular synthesizer: The selection and arrangement of the modules is absolutely free! You can add new modules later (simply remove 2 screws, plug in the module, fix the screws again) or rearrange them according to your needs.

What do you get?

In this Kickstarter project, two different preinstalled module racks are offered:

with one row of modules
double size with two rows and some more modules (for contained modules see the pledge description)

In the package is also

A power supply
please note which kind of plug you need (EU, UK, US)
A bunch of patch wires
MIDI breakout cable
A user guide / short introduction
The modules in detail:

MASTER, I/O: The master module with power supply, Input/output jacks (1/8" mono minijack) for audio and control voltages and MIDI-Input (via a breakout cable). MIDI works either omni or on channel 1. MIDI Clock/Start/Stop are provided via the bus to the modules; same with CV/Gate for Notes and one Controller.

2OSC: 2 Oscillators with Squarewave, Triangle and Sync outputs, Sync and CV input

NOISE: A noise generator (white noise, digitally based with variable frequency)

FILTER: A filter with lowpass/bandpass/highpass output, adjustable frequency and resonance (Wasp type)

ENV: An AD type envelope (Attack/Decay) with switchable Sustain and two time ranges

2VCA: A dual voltage-controlled amplifier for controlling signal levels or modulating control voltages

LFO: modulation oscillator with squarewave (adjustable pulsewidth), triangle or falling sawtooth output, two time ranges

2S&H: A dual Sample&Hold module, for creating random or stepped control voltages

2ATT/CV: For attenuating control voltages or as voltage source

MIXER4-4: A mixer for signals or control voltages with four adjustable inputs and additional four "full-level" inputs.

DELAY: A delay with a lo-fi, analog character

LOGIC: Combines two inputs by different logic rules (AND, NAND, XOR); for rhythmic patterns and also interesting for audio signals (gives ringmodulator-like sounds)

STEP10: A trigger sequencer with up to 10 steps, for creating gate patterns

The future of AE modular:

If you know a little bit about modular synthesizers, you will see that we have the basic modules in the box; but the fun get's much bigger with additional other modules. If this project succeeds, there will be a lot of other modules available that are planned or already under development like:

VCO with 1V/octave characteristic

Oscillator banks (for sound clusters, drones...)

Sampler (play samples from a microSD-card, eventually with granulation)

Algorithmic Drone soundsource

16-Step Note Sequencer

Beat Divider (for processing MIDI Clock into usable trigger clocks (1/4, 1/8, 1/16... dotted, triplet...)

other filter types

Phaser

Waveshaper

more complex modulation sources

Credits

Thanks a lot to:

MakerLab Murnau / J.-U. Bittlinger (the availabilty of the Lab pushed the development a lot!)

Luna Sonnemann for the wonderful photos

Roman Feldmeier and Marco Asam for their support in the video session and giving me ideas.

Furthermore thanks to Marco for getting the word out and helping me to find distribution, as well giving me the ability to present an Alpha version at the Bavaria Ableton Usergroup. The Feedback helped and gave me a lot of motivation.

my wife Sabine for her strong support of my ideas

...and finally YOU for your interest and (hopefully) your support!"

Paul McGowan of PS Audio Explains the Moog Synthesizer

video upload by Paul McGowan, PS Audio

"The classic Moog changed the world. Paul helps us understand what all the wires and modules actually do."

https://www.psaudio.com

Fascinating bit at 1:50. Paul McGowan actually created his own synthesizer, The Infinitizer. Curious if there are any images of it out there. He almost sold one to Wendy Carlos. It gets a mention in his book 99% True: Almost a National Bestseller which you can find on Amazon here (note this is an affiliate link - see the site's privacy policy for more info).

Update: I asked Paul if he had any pics of The Infinitizer. Unfortantely he didn't, and he no longer has any of the parts, but he did send over the following additional info:

"I don’t have any photos of the Infinitizer, unfortunately. I remember a very sad day back in 1995 or so when I was cleaning out my lab and had to own up to hauling it off to the dump (it was a mere skeleton of PCBs, a keyboard, and lots of wires and didn’t work)."

"The idea was to make 10 synthesizers into one unit that was easy to use. This meant it would be the world’s first polyphonic synth, since musicians only have 10 fingers.

I designed a complete analog chain of 10 modules (the usual: VC filters, oscillators, envelope generators, amplifiers, etc.). Then, I hired an engineer out of Vandenburg Air Force Base who was a whiz at this new thing called “digital”. He designed for me a multiplexed keyboard that constantly scanned all the keys looking for ones that were pressed. The keys were all internally numbered and when pressed, the multiplexer would find an available VC oscillator and assign that number to the oscillator. Because we know the number of the key, the appropriate voltage was sent to that oscillator and it produced the appropriate frequency for that key. In order to have the entire keyboard voltage move up and down (like if you wanted to bend the notes or modulate the frequency with a LF oscillator) the master voltage (that got divided by the individual keys assigned to it) could be accessed as one might normally do through the patch bay.

I also wanted to have the keys pressure sensitive so for that, I invented the use of conductive foam under each key (and that too could manipulate the master voltage to the oscillator banks) and could be assigned to modulate any of the other modifiers too. My patch bay was a switch matrix and pots kind of like ARP used to do.

It was a very cool device which I wrote about extensively in my memoirs, 99% True."

-------

As for the first non organ based poly synth, currently that honor likely goes to one of the following depending how you define it:

1975 - Buchla 502 - six voice polyphonic with minicomputer and ability to save patches to tape drive. Development on the 500 series began in 1969.

1975 - Oberheim FVS - four voice polyphonic with Polyphonic Synthesizer Programmer. Not sure if the 502 or FVS was released first.

1977 - Yamaha - CS50/CS60/CS80 - first single enclosure polyphonic keyboard synthesizers, with the CS80 to be the first synth with poly aftertouch

1978 - Sequential Circuits - microprocessor control the SCI prophet 10 (briefly) and the P-5 --- again based on existing E-mu tech stuff

via The First Synth to...