"Announcing the MKIII version of the WMD Digital VCA eurorack module. This new and improved dual VCA and Polarizer (bipolar VCA) has a zero-crossing detector and noise source. At only 8HP, this module can do many cool things for any modular synth in a small space."
"WMD is back and finally in production with the new Digital VCA MKIII eurorack module. This modern take on a classic WMD design combines a Zero Crossing Detector (ZCD), a Voltage Controlled Attenuator (VCA), and a couple noise sources to make a super versatile tool at only 8HP. Watch as Alex Anderson explains many of the features and use cases.
00:00 Overview
00:54 White Noise Explanation
02:16 VCA overview
04:55 Remove clicks and pops the ZCD
07:59 Trigger Mode
14:06 Amplitude modulation and the Bipolar functions
18:51 Normaling of 'B' inputs with Dual VCA patch example
20:56 Mixing capabilities
23:00 ZCD Outputs"
"I've done several designs of this circuit over the years, the first one had no knobs, the second was too small, the MKIII is finally how this circuit should be packaged. This module does some really cool stuff and is super useful in any system.
The Digital VCA lets signal through like a normal VCA, but the CV and attenuation level is controlled digitally. This lets us do things like wait until there is a zero crossing to change the amplitude, resulting in clickless amplitude changes.
The Trigger mode causes the VCA to only update when a trigger is received. The addition of a noise circuit for each side let us do a very quick and easy sample and hold that never droops. With no input, 5V is normaled to the attenuator, so you get a 0-5V sample and hold. In Bipolar mode, you can get -5 to +5V.
Both sides have bipolar VCA mode (polarizer), which lets them invert the signal when negative CV comes in. Also known as ring modulation. With the zero crossing detector, this can produce some super wild wave shapes.
Limited run of 410 units for Eurorack Modular Synthesizer systems. I won't be making more or doing another version in the future."
The Corsynth drum collection for MU format modular sounds nothing short of massive! Especially when all drums are patched into the Moog-Style C111 mixer. Feed the mix back into itself and quickly witness the clean analog saturation get completely destroyed (in a harmonically satisfying kind of way)
The Corsynth drum modules are available now at Noisebug.
The DR-01 Bass Drum is the first of a new series of Corsynth modules dedicated to analog drum synthesis and it’s also the first module of this kind commercially available in MU format. Create a drum sounds from scratch using a modular synthesizer is always time and resourcing consuming. With the DR-01 you will save a lot of space, money and modules that can be used for other purposes. The DR-01 has all you need to create bass drums , toms a many other percussive sounds in just one single space. And thanks to the Tune CV input is even possible to use the DR-01 to create bass lines. Punchy techno drums, industrial drums, drum sounds of the firsts analog drum machines, FM sounds... With the DR-01 is really easy to get the sounds that you need at every moment. All the parameters in the module have been carefully chosen to be used in a drum synthesis context (envelope times, oscillator frequencies, oscillator waveform etc ). These are the DR-01 Bass Drum main features: * A voltage controlled oscillator with dedicated CV input for tuning. * A voltage controlled timbre circuit. * A dedicated tune modulation envelope. * An amplitude envelope with three different settings for the attack time. It’s time to add drum sounds to your synth sequences! .
The DR-02 Snare Drum is the second module in the DR series dedicated to analog drum synthesis. This module is designed to synthesize electronic snare drum sounds of any kind. From the classic preset drum machines from the 70s to TR-XXX, electro snares, zaps... But thanks to its 12 knobs and 3 CV inputs the DR-02 Snare Drum can synthesize much more than snare drums, sounds like hit-hats, toms, cymbals , congas, FXs are also possible and even it can be used as an oscillator. The DR-02 is composed for two different sections , Head and Snare each of them with its own volume control. The Head section has two voltage controlled oscillators with a fixed frequency interval between them. One modulation envelope to modulate the oscillators tuning and one VCA with an AD envelope to control de decay of the snare head. The Snare section is composed by a noise generator , two voltage controlled filters connected in series ( one 12db resonant high pass filter and one 6db non- resonant low pass filter). One envelope to modulate the high pass filter cutoff frequency and one VCA with an AD envelope to control de decay of the snare.
The DR-03 Hi-Hats / Metal is the third module in the DR series dedicated to analog drum synthesis. It is designed to synthesize Hi-Hats and metal percussion like cowbells or cymbals and even FX. Three different voices are available at the same time Closed Hi-hat, Open Hi-hat and Metal plus a Hi-Hat mixed output .
Hi-Hats To synthesize a Hi-Hat there is a key element that defines the final result, the primary sound used to create it. The DR-03 has three possible sound sources , a white noise generator, a mix of six square wave oscillators and a mix of ring modulated square wave oscillators. These three sound sources, together with the VC Band Pass filter and the Low Pass Filter allow the DR-03 to create a wide range of hi-hat sounds. Another interesting feature is that the Open Hi-hat decay time is voltage controlled and it can be triggered independently or conditioned to the Closed Hi-hat. Metal The Metal sound is created using two ring modulated square wave oscillators and a VC Band Pass Filter. The frequency of one oscillator can be manually controlled and the other one has a fixed frequency. The variable oscillator can modulate the cutoff of the BPF to create metallic FM sounds.
"If you know synths and are a bit of an expert this video isn't for you.
But: are you synth curious? Grab a drink and make yourself comfortable. Watch me learn how to use some of my synth equipment. My goal was to use only "old school" voltages to control the equipment. CV stands for 'control voltage' and gate means a pulse of electricity which can be used to cause a note to start playing or to tell an electronic instrument what the tempo is. If you liked this ... buy my music!
If you'd like to hear what happened when I pressed record and improvised live?"
"Recorded live using analog synthesizers controlled by a hardware sequencer. My goal was to use only "old school" voltages to control the equipment. This is part of a project in development. It will probably feature but possibly in a new mix and edit."
Update: 3rd video, pics, and details added below. Check with the dealers on the right for availability.
"The 'CIZZLE' is a dual digital 'phase distortion' VCO inspired by the classic Casio 'CZ' series synthesizers. It brings the specifics of 'CZ' style phase distortion (PD) synthesis into Eurorack with the inclusion of primary and secondary oscillator layering and detuning (with up to 8 voice chord generation), extended morphable PD wave generation algorithms, unique resonance wave generation, plus specific 'end of chain' ring modulation and noise modes that are key to the CZ sound.
The voices also feature built in VCAs and various modulation controls and inputs, a cv-able chord mode, tracking ability, triggered mode switching and can be output independently or mixed with stereo widening.
The 'CIZZLE' finally brings characteristic CZ style synthesis to Eurorack with a rich palette of sounds from mellow ambient tones, 90s Detroit Techno inspired chords, Reese style basses, and synth tones with unique faux resonance squelch."
Time Stamps:
0:00 - Intro
1:08 - Frequency Controls
4:20 - OSC A Controls
12:38 - OSC B Ring Mod
18:08 - OSC B Noise
23:30 - Chord Mode
28:57 - Patches - Acid Bassline
30:58 - Patches - Ambient Chords
32:46 - Patches - Beat
34:38 - Outro
"ALM / Busy Circuits invited artists Satoshi and Makoto, renowned Casio CZ synthesists, to the Clockface Modular shop and studio in Tokyo, Japan to try out the new ALM CIZZLE module. This short film documents the visit and provides a translated interview.
Satoshi and Makoto are a twin duo that received international acclaim in 2017 with the release of their debut album 'CZ-5000 Sounds and Sequences' on Safe Trip. In 2020, their follow up album "CZ-5000 Sounds and Sequences Vol. II” was released, solidifying their dedication to the Casio CZ synthesizer.
The new ALM CIZZLE is a dual digital 'phase distortion' VCO inspired by the classic Casio CZ series synthesizers. It brings the specifics of CZ style phase distortion (PD) synthesis into Eurorack with the inclusion of primary and secondary oscillator layering and detuning (with up to 8 voice chord generation), extended morphable PD wave generation algorithms, unique resonance wave generation, plus specific 'end of chain' ring modulation and noise modes that are key to the CZ sound. The CIZZLE is available now from fine ALM stockists worldwide.
"Cizzle is a Eurorack synth voice from ALM Busy Circuits based around Phase Distortion synthesis, which Casio pioneered in their CZ series back in the 1980s.
It contains two digital oscillators that would typically be combined and used as one voice, but you can also use them independently. Each oscillator can produce four-note chords and has its own VCA, so all you need is an envelope or two to start using this as a complete voice.
Chapters:
00:00 Intro
00:43 Patch previews
02:10 What is phase distortion?
02:48 Cizzle overview
06:27 Deep house chords
09:34 Ring mod electro synth
12:34 Sweeping synth arpeggios
13:56 Jacking house loops
16:22 Two separate voices
18:12 Dual stepped modulation
20:16 Chord progression sequencing
23:06 Freaky techno loops
The ’CIZZLE’ is a dual digital ’phase distortion’ VCO inspired by the classic Casio ’CZ’ series synthesizers. It brings the specifics of ’CZ’ style phase distortion (PD) synthesis into Eurorack with the inclusion of primary and secondary oscillator layering and detuning (with up to 8-voice chord generation), extended morphable PD wave generation algorithms, unique resonance wave generation, plus specific ’end of chain’ ring modulation and noise modes that are key to the CZ sound.
The voices also feature built in VCAs and various modulation controls and inputs, a cv-able chord mode, tracking ability, triggered mode switching and can be output independently or mixed with stereo widening.
The ’CIZZLE’ finally brings characteristic CZ style synthesis to Eurorack with a rich palette of sounds from mellow ambient tones, 90s Detroit Techno inspired chords, Reese style basses, and synth tones with unique faux resonance squelch.
Feature List → Dual phase distortion VCO with direct and voltage controlled parameters.
→ Easy, quick and accurate tuning via an encoder control.
→ 9 morphing phase distortion ’Algorithms’ (Osc A) with direct and CV control.
→ PD Offset ’Shape’ with direct and CV control.
→ Unique CZ resonance waveform (Osc B) with direct and CV control.
→ Multiple Osc B modes; Rez, Ring Mod, and Noise based on classic CZ synthesis.
→ Mode switchable via direct and trigger control.
→ Optional Osc B frequency tracking of Osc A with offset.
→ Voltage controlled chord mode with inversion and up to 8 voices.
→ Dedicated oscillator output level VCAs.
→ Separate dual or mixed outputs with stereo widening effect.
→ Skiff friendly with reverse power protection.
→ 2 Year Warranty.
→ Made in England.
Ideal For
→ Flexible and precise primary digital voice duties in a Eurorack system.
"Generative patch that uses the ring modulator as a voltage controlled amplifier and various modulation signals from the noise generator, modulation generator (LFO) and envelope generators.
At a certain point in the preparation I had to use my self-made V-trigger/S-trigger converter (built inside a jack) because of an electric interference, maybe a lifted ground, that made the EG1&2 fire for nothing and negated some interesting patch combination between modules. I will have a closer look at the circuit and try to fix it in future, for the moment I will use the MS-50 as it is.
The video consists of four chapters with basically the same wiring but different settings, anyway the wiring list is presented at the beginning of each chapter.
At some point I think I kicked the tripod, as a result the MS-50 panel is partially out of focus.
Effects: EH4800 Small Stone (Nano) phase shifter, Korg SDD-3000 delay, dbx 166 peak compression.
"Mint condition Moog synth. One of only 150 built and no longer available. This example is in mint condition. Never left my studio and will ship in original packaging with hard cover owner’s manual.
Included modules and cables
2 x 902 Voltage Controlled Amplifiers
904A Voltage Controlled Low Pass Filter
907A Fixed Filter Bank
2 x 911 Envelope Generators
921 Voltage Controlled Oscillator
921A Oscillator driver
2 x 921B Oscillators
923 Random Noise/Filter
995 Attenuator
CP15 Console Panel
130W 120VAC Power Supply
10 x 1' TS cables
8 x 2' TS cables
2 x 1' S-Trigger cables
1.5' S-Trigger cable
S-Trigger Y-cable
Moog Model 15 Limited Reissue Modular Synthesizer Features:
A spot-on re-creation of Moog's popular 1973 portable modular synthesizer
Built with 14 handcrafted modules set in a road-ready, Tolex-covered travel case
Includes the powerful 907A Fixed Filter Bank for dramatic sound shaping
Fully modular system (no internal patching) comes bundled with 1/4" patch cables"
"Root Locus is an analogue filter from Nekyia Circuits, a new manufacturer based in Greece. It’s a 12dB/octave multimode design that’s based on the classic Serge VCFQ - but it adds a couple of unique twists, like the two audio inputs with a voltage-controlled crossfader, and a variable mode output with CV input.
In this video, I explore some of the weird and wonderful things you can do with it. A lot of these techniques can be applied to other filters too - you might just need one or two extra modules in some cases - so as always, you’ll hopefully get some ideas you can apply to whatever you’re using."
"Root Locus is an analog 12dB/octave multimode filter, based on the CGS512 VCFQ filter. It adds a dual input crossfading mixer with gain control and a variable mode output with cv control for sweeps between filter modes, aiming for an extensive tonal variety! It also features a Ping input that allows for an impressively wide variety of percussive sounds. The sub range switch makes it a very versatile CV filter too, able to filter control voltages as well as transforming it to an interesting quadrature LFO while in self oscillation."
"4Fade is a quad, stereo, linear VCA mixer around 2164 ICs with pre listening stereo headphone path and expanding features.
It delivers clean sound and clickless mutes around quick and high quality vactrols. Still vactrols deliver a slight fade out when muting.
Each channel has a gain stage with boost for low level signals and the level can be controlled
over common eurorack voltage for further dynamics like sidechaining, or DAW automation (MIDI / USB to CV needed! )
The 45mm channel faders got a LED for indicating the level.
The cue path is pre listening, but before the gain stage. A result of keeping the circuit as clean and small as possible without adding another series of VCAs.
So keep in mind, pre listening with gain down only!
The audio inputs are normalized from L to R for use with mono equipment as well.
The sum of all channels leads into a master volume pot and gets indicated over a 10 digit VU meter display after all.
On the backside are connections for the dual send expander and the 5MX stereo mixer to get additional channels.
Together they form a 9 channel mixer with a flexible send path."
"Introducing dåpf, the first dedicated effects processor in the Instruō product line. The Instruō dåpf is a set of two analogue all-pass filters.
You might be asking yourself, “What is the point of a filter that passes everything?” All-pass filters don’t actually attenuate frequency amplitudes directly, but rather alter the phase relationship of frequencies across the spectrum. All-pass filter stages appear in the vast majority of voltage-controlled filter topologies as well as serving as a core building block within DSP.
The normalled I/O of dåpf allows for cascaded or independent use of the two all-pass filter circuits, offering everything from classic phase-shifting to psychoacoustic stereo enhancement and synthetic Doppler effect.
• Two parallel all-pass filters • Independent attenuverters for voltage control • 1-Pole/2-Pole configuration for left channel • Cascaded normalisation • Global 1 volt per octave tracking"
"This video is long... But the second half is very much optional expansion and deep dive into some theory of all-pass filters. The first few examples are much quicker, more practical examples of dåpf patched. Thanks for watching :)" ~Jason ---
00:00:00 Instruōduction 00:03:24 Overview | Stereo Enhancement 00:04:19 Stereo Enhancement - Subtractive patch sound source 00:04:55 Stereo Enhancement - Traditional stereo panning 00:06:13 Stereo Enhancement - Spectrally transparent waveshaping 00:07:22 Stereo Enhancement - dåpf inputs/outputs 00:09:42 Stereo Enhancement - Controls and CV inputs 00:10:14 Stereo Enhancement - 6dB/12dB pole switch 00:11:18 Stereo Enhancement - Mono to Stereo patching 00:15:41 Stereo Enhancement - Static phase shift 00:17:32 Stereo Enhancement - Level 1: modulation 00:19:40 Stereo Enhancement - Level 2: modulation + waveshaping 00:25:02 Stereo Enhancement - Level 3: modulation + timbre 00:27:50 Vibrato Everything 00:28:17 Vibrato Everything - What is vibrato? 00:29:35 Vibrato Everything - Non-FM vibrato 00:30:22 Vibrato Everything - (tangent: sine phase) 00:31:34 Vibrato Everything - (tangent: sine spatialisation) 00:32:37 Vibrato Everything - Non-FM vibrato (sine wave) 00:34:11 Vibrato Everything - Non-FM vibrato (sawtooth wave) 00:38:42 Vibrato Everything - Non-FM vibrato (complex audio) 00:40:46 Vibrato Everything - Non-FM... FM? ...PM! (Phase Modulation) 00:43:47 Feedback Processing |"Doppler" 00:44:33 Feedback Processing |"Doppler" - Lúbadh feedback patch 00:46:38 Feedback Processing |"Doppler" - Doppler shift description 00:48:08 Feedback Processing |"Doppler" - Doppler dåpf 1pole/2-pole 00:49:20 Feedback Processing |"Doppler" - Doppler dåpf 3-pole/-4pole 00:51:28 Feedback Processing |"Doppler" - Doppler dåpf in stereo! 00:52:02 Feedback Processing |"Doppler" - Delay feedback 00:54:54 Feedback Processing |"Doppler" - Audio rate modulation 00:56:32 Building a phaser - Deep dive into all-pass filters 00:58:44 Building a phaser - Phase shift of a fundamental 00:59:41 Building a phaser - Quadrature: sine | cosine 01:00:43 Building a phaser - Drawing perfect circles 01:01:41 Building a phaser - Drawing (non-)perfect circles 01:02:16 Building a phaser - Frequency dependent phase shift 01:04:22 Building a phaser - 1V/octave tracking 01:07:40 Building a phaser - More than one sine wave 01:08:58 Building a phaser - The harmonic overtone series 01:10:19 Building a phaser - Sawtooth wave low-pass filtered (reference) 01:11:15 Building a phaser - Phase shifting harmonic overtones 01:15:42 Building a phaser - Inside a phaser 01:18:00 Building a phaser - Stereo Phaser 01:22:19 Building a phaser - uPhaser Befaco FXBoy 01:23:46 Building filters - Any-pass filter? 01:25:05 Building filters - RC low-pass filter 01:26:03 Building filters - Spectral cancellation principles 01:28:35 Building filters - APF to LPF 01:30:10 Building filters - APF to HPF 01:32:03 Building filters - Parallel dual all-pass filters 01:37:41 Building filters - Resonant filters"
And a video from Divkid:
Wow! I didn't know All Pass Filters could do this // 3 Patches with dapf from Instruo
video upload by DivKid
"I'm always striving to learn and explore with sound and music and dapf (the new Eurorack module from Instruo) certainly brought a big slap of school day into DivKid HQ. I was aware of all pass filters, getting past the funny idea that "all" frequencies pass (so what's the point?) and knowing they were use for phase shifts. What I didn't know is how core and important to filter topologies they were and how creatively useful they could be.
Some exploring later and here we are, with 3 patches that really show the power of phase manipulation. While dapf makes a fantastically chewy phaser FX unit I didn't expect it would be such a great stereo expander for a single VCO nor did I know I could be MUSICAL and totally analogue 3 operator FM/PM (like the digital Yamaha DX and Casio CZ phase/FM methods) synth."
"VCZIIIA SAW is mixed with VCZIIIB SQUARE and with SUB modules.
All three are mixed to the VCF2600. The end of the patch is VCA2600 controlled by the ENV100.
You can hear the bubbly sound of the VCOs, these VCOs made with transistors are not so linear as other VCOs."
"VCZIII VCOs modulating each other. The shape of the waveform is changed by the 4 slow sine LFOs combos of CMS SLOSINES.
You can hear how the FM timbre is affected by the waveform nature."
"The VCZIII voltage controlled oscillator modules are our latest creation and are based on the VCOs of one of the most revered analog instruments, the famous British pin matrix synth released in 1969.
The VCZIII series VCO is a result of the collaboration of Feedback modules and CMS-LAB and is a modern re-creation of those temperamental, organic and beautiful sounding VCOs from 1969 but with enhancements and adaptations to the Eurorack needs of 21st century.
There are two type of VCOs, VCZIII A based on VCO1 with variable shape SINE & SAW waveforms, VCZIII B based on VCO2 & VCO3 with variable TRIANGLE & PULSE waveforms.
Also, each VCO comes in two versions, one with normal fine tune potentiometers and one with precision multiturn potentiometer."
"The Pittsburgh Modular Local Parks is drawn from our waveform manipulation research where advanced approaches to wave shaping throughout the oscillator showcase new sounds and unique waveforms. A full compliment of robust waveforms and modulation options paired with unmatched waveshaping creates a truly modern analog oscillator.
Our in-depth experimentation has created pulse waves which can be manipulated in multiple dimensions utilizing both Pulse Width and Pulse Shift. Pulse Shift creates an adjustable “step” within the pulse wave to further enhance the harmonic content of the wave. The wave used to create the pulse can be switched between sine and saw for additional sonic variation.
The Blade Wave is a morphing saw wave pitched one octave above the core frequency of the oscillator that smoothly shifts back to the core frequency as it changes shape. This creates a chorus-like effect on the sound of the Blade Wave without ever falling out of tune.
A Binary Logic waveform further expand the distinct sonic palette of the Local Parks. First utilized in our Narwhal Cymbal module, this waveshaper uses analog binary logic to create everything from gate effects to atonal bell like tones. The pulse and blade waves can be summed with the binary output for even more complex results.
Local Parks includes a built-in voltage controlled modulator to handle the bulk of modulation needs. This ensures that Local Parks can be a dynamic oscillator that produces evolving, high harmonic sounds within any eurorack setup."
"Custom Buchla format analog modular synthesizer, inside a birch plywood carrying case with closable-patched lid in great working shape.
Includes 12 professionally built and calibrated modules. 18 stackable Pomona banana cables of various size, 8 Pamona MDP-S banana jumpers, 16 tini jack cables in three sizes and power supply with IEC cable.
Modules are as follows:
258 Dual Oscillator 285 Frequency Shifter 266 Source Of Uncertainty 281 Quad Function Generator 292C Quad Lopass Gate 207 Mixer/Preamplifier 259 Programmable Complex Waveform Generator 291 Dual Voltage Controlled Filter 257 Dual Voltage Processor 256 Dual Control Voltage Adder 277 Signal Delay Unit 294 Four Channel Comb Filter
This synth sounds amazing and has included some hard to find chips as parts of the circuits including the original Buchla spec microphone preamp and some very hard to find SSM chips in the 258. It’s been a joy to put together and use and I hope it will go to a home where it’s appreciated. Thanks for looking!"
"It's a dual LFO with some interesting features. Modulation sources are always a must have in every system and this module can be a good addition to save some space.
Those are the main characteristics : Two LFOs in one space. LFO1 range : 20 seconds per cycle to 20Hz (can be extended using CV). LFO2 range : 40 seconds per cycle to 10Hz Each LFO has an independent Sync input that will reset the LFO. LFO1 is voltage controlled. It has a FM input with attenuator. LFO2 triangle wave is normalized to the LFO1's FM input. This connection allows to create complex modulations without any patching. The normalization will be broken if a patch cable is inserted into the FM input. LFO1 has two waveforms available simultaneously Triangle and Saw LFO2 has three waveforms available simultaneously , Triangle, Sine and Square.
The module is designed and fully working but since we don't know if there will be enought interest, we have opened a pre-ordering period to gauge the interest. During this period you can pre-order the module paying a 50€ deposit and with this you will get a 10% discount from the final price (220€ +VAT (VAT only for EU residents )). This deposit is fully refundable in case there are not enough preorders and the module is not released.
Read carefully the following pre-ordering conditions."
"American Format (5U) modular synthesizer performance in real time to a stereo track in Cubase. For an atonal wash I used the Dove Audio Waveplane and WTF vco's through an Oakley Sound Systems Ring Modulator. I then sent it through A dotcom Q150 transistor ladder filter and a Lower West Side Studio Multimode Filter/Resonator and on to a fixed filter bank and a Frequency Central Stasis Leak digital delay. This drone wash comes in at the final section and ending. The opening reed sound and accompanying organ sounds were derived from the Synthetic Sound Labs/Mutable Instruments (Braids) Woven Spirits module. The initial reed sound is from the AUX output of the Woven Spirits through an SSL/Ian Fritz 5 Pulser and Oakley Sound Systems State Variable Filter. The filter is stepped with a random S&H from JNP Electronics. The secondary organ chord sound is the Main direct output of the Woven Spirits in Chord mode. The combination of both elements are sent to an Electro-Harmonix Grand Canyon in DMM mode. Feedback is applied as needed for the drone sustain throughout the piece. The bass line comes in next with a pair of STG Soundlabs Oscillators through a Dove Audio D502 Multimode filter in -24dB LP mode. The pitch voltage is from the upper Q960 step sequencer. It's timing is from a Catgirl Synth Master Divider, clocked from a custom Dual LFO/Analog Shift Register of Ken Stone (Catgirl Synth) design. An additional tap from the STG oscillator through a Corsynth C103 Frequency Divider/Multiplier module for a sub-octave feed. The melodic line blended into the latter section is from a pair of Q106 dotcom vco's which are pitch controlled by the lower Q960 sequencer. Each vco pitch is from a separate row of the Q960. The Q960's shift timing is from the CGS Master Divider module. The output is routed through an Empress Reverb pedal in Blue Ghost mode. Panning is from the LWSS/Yusynth Panning Mixer. All pitch quantitization is through a Moon Modular 565 series setup. Additional voltage modulation to the Woven Spirits module are from the STG Soundlabs voltage mini stores, and vaious LFO's etc. Timing for the additional sequencers is also managed by the Moster Divider."
"This video is a historical, technical, and musical deep dive into the Buchla 100 Series Modular System at the Mills College Center for Contemporary Music. This instrument was the first voltage controllable modular synthesizer built by Don Buchla—it was delivered to the San Francisco Tape Music Center in the mid-1960s.
In this video we’ll start with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, we’ll unpack everything that’s inside the instrument module by module. Finally, I’ll share some of the quirks of this particular instrument, and lots of patch examples to illustrate its unique voice and character.
As I was getting to know this instrument, I tried to keep in mind the circumstances surrounding its development—the people who contributed to it, the time in which it emerged, and the state of electronic music at the time of its invention. These thoughts greatly inspired my approach to working with the instrument and are present throughout this video.
It’s a rare opportunity to be able to work with a historical instrument like this one. I have always been super inspired by Buchla’s work in general, but like many people have had few opportunities to work with his original instruments. Instead, much of my experience has been through newer instruments inspired by his designs. Being able to work closely with this instrument was an incredibly inspiring and clarifying experience that allowed me to gain a deeper understanding of Buchla’s own creative and technical development, as well as the multitude of music, modern modules, and instruments that have been inspired by his work.
Special thank you to Mills College for letting us spend a week in the electronic music studio working with the Buchla 100; to The Buchla Archives and Ryan Gaston for helping to put this video together; and also to all of the amazing folks in my Patreon community for your support in helping to bring educational projects like this one to life!
Learn more / join the waitlist for Learning Sound and Synthesis, my online modular synthesis and sound design class: https://www.soundandsynthesis.com
Join my Patreon community for behind-the-scenes content, unreleased music, and extended tutorials: sarahbellereid
TIMESTAMPS:
00:00 Historical Overview: Buchla 100 + the San Francisco Tape Music Center
7:38 Mills Buchla 100 System Overview
14:27 Timbre in the Mills Buchla 100
18:29 Chaos in the Mills Buchla 100
21:52 Voltage Control Quirks
25:00 Sequencing Tactics: Triggered Segments
30:40 Sequencing Tactics: Extended Sequences
32:06 More Patches + Sounds
32:36 Ring Modulated Reverb Patch
34:40 Keyboard Chaos Patch
36:55 Gated Voice Patch
38:29 Wonky Drum Machine Patch
38:57 Triggered Gestures Patch
39:14 Transposed FM Sequence Patch
39:48 Bell Tones Patch
40:27 Touch Controlled Ratchet Patch
41:00 Sequenced Melodic Patch
Sarah Belle Reid is a performer-composer, active in the fields of electroacoustic trumpet performance, intermedia arts, music technology, and improvisation.
"In the Spring of 2024, Reid spent a week at the Center for Contemporary Music at Mills College, where she worked closely with their original Buchla 100 modular synthesizer system. This specific instrument’s historical significance can’t be overstated. It was the very first voltage controllable modular synthesizer that the now-famous artist, inventor, and electronic musical instrument designer Donald Buchla built in the mid 1960s—indeed, one of the very first modular synthesizers altogether. In its time, this specific system has been used by countless inspiring and influential musicians, such as Pauline Oliveros, Morton Subotnick, Suzanne Ciani, Warner Jepson, and others.
The video begins with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, Reid unpacks everything that’s inside the instrument module by module, with sound demos and examples. Finally, she shares some of the unique quirks of the Mills Buchla 100 instrument, and patch examples of how the instrument can be used to create a wide range of music and sounds."
Video timestamps:
00:00 Intro & Waveforms
01:57 Skew function
02:42 Frequency Multiplier
03:07 CV Inputs
04:33 Outputs
05:10 Step mode & Sync Input
06:00 Jam with external sequence
"The CubuSynth VCLFO v2 is a Complex voltage controlled Low frequency oscillator, with 16 Waveforms, Step control (Sample&Hold style), LFO Sync / Reset, CV control over Frequency, Amplitude, Waveform, Frequency multiplier, Skew and Step Rate.
• 16 Waveforms selectable in two Banks of 8
• Frequency range: 0.05Hz to 12.8Hz (102.4Hz with multiplier x8)
• 6 CV inputs for Multiplier, Frequency, Step Rate, Skew, Waveform and Level
• "Sync" Input for LFO reset, or Step Sync
• 3 outputs:
Uni-Polar (0 to +5V),
Bi-Polar inverted (+5V to 5V / 10Vpp) and
Bi-Polar normal ( 5V to +5V / 10Vpp)"
Our new module offers the possibility to create music using our creative physics engine. Add particles, animated surfaces, portals, black holes and generate gates on collisions, CV output voltages & quantized melodies!
Each particle can have entirely unique physics parameters including acceleration, velocity, mass & gravity! All interact in your simulation to create collisions and XY positional data that can be mapped to generate musically useful gates, voltages & notes. Collisions for some particles may even be switched off so that they move freely around the screen without colliding with other simulation elements.
Multiple quantize zone maps can be used simultaneously to create chords and multiple particles may be mapped to the same output to allow transposition of melodies. CV outputs can be set to send a transposed voltage from another output for easy chord generation.
One particle can control all outputs or all particles (up to 50) can control one output, and anything in between. As with Flux, we have aimed to keep the module as flexible as possible. All simulations can be drawn from scratch using the touchscreen or simulations can also be crafted in fine detail by inputting exact values in the UI.
Multiple external and internal timed resets can be used simultaneously per particle to sync to external equipment or create repetition and complex rhythms as explored in the demo video.
Endless rhythmic and melodic possibilities await!
Please note - the module's hardware itself obeys the real world laws of physics as is in no danger of floating away from your case should you experiment with gravity values. It should however be held in place by mounting screws (just in case)."
"At BAF 2024 Sonic State had the opportunity to speak with Karl from EarthquakerDevices about their latest release, The Wave Transformer oscillator. This complex single oscillator is fully analog and features a unique wave shaping circuit called Transform. Unlike traditional wave folders, Transform breaks the waveform apart, applies voltage math, and reassembles it on the output, resulting in an asymmetric crumpled waveform with added harmonics. The Wave Transformer offers seven different outputs and nine inputs, providing plenty of versatility for modulation and sound design.
The Wave Transformer also offers both hard and soft sync options, each providing their own sonic flavours, and by utilizing bipolar signals, users can achieve different sync sounds and even create filtering effects.
The Wave Transformer is available now. Price 199 USD"
"The Wave Transformer is an analog, vintage-voiced, voltage-controlled oscillator with over 8 octaves of accurate pitch tracking. It has 7 simultaneous wave outputs, including a unique Complex output.
The Transform control morphs from a basic waveform through many strange iterations into a complex, gnarled mass of audio mutations at the Complex output. You can yield countless variations on these permutations by combining this novel circuit with Hard Sync, Soft Sync, Linear FM and Exponential FM. Additionally, you can mute the source waveform to use the circuit as a harmonic gate/VCA, rendering The Wave Transformer a voice unto itself. If that is not enough, there is a Shape Insert that allows you to transform external oscillations and modular-level audio sources."
