"Original model MidiMoog.. Not very many of these made. This was one of SE's first builds. These few MidiMoog's had an original vintage Moog MiniMoog OSC board.. this is one of those.
It all works great.. Thesis Audio completely went through it a couple of years ago.. It is working and sounding great.. just like a vintage minimoog!
In many ways its better than a vintage minimoog.. it has MIDI, it has LFO and Filter Aftertouch!!! And is very portable.. all with the Mini sound.
A couple of things to note. There are scuffs and scratches around the body, The first WAVEFORM knob is a little loose from its post.. NOT THE POT.. just the plastic knob over the metal pot post.. needs a new set screw. And.. while its perfectly scaled and in tune across many octaves.. you may have to scale and tune it after transit.. takes 5-10 min and super easy.. tuning / scaling pots are accessed via the back panel with a mini flat head screwdriver. Might not need tuning when you get it, just stating for full disclosure."
"This analog oscillator features a unique Transform knob that allows you to morph a simple waveform into a complex mass of audio mutations. Fess gives us an in-depth demonstration of the Wave Transformer's capabilities and explores its potential for creating unique patches.
"This is the Liquid Sky D-Vices V4CO, a truly crazy sounding 8-bit dual wavetable oscillator.
dual 8 bit wavetable oscillator, each with separate subbass - hard sync - 16 x 16 x 4 Waveforms - different for each OSC - Each module has a base (16 x 6) set and the rest is an uUNIQUE set of waveforms - Single outputs for each OSC / SUBOSC and mix output (w/o SUBOSC) - Analog VCA for each oscillator - Analog overdrive controllable via VCA - Audio / LFO Mode for each OSC - Waveform shuffle - REAL 8 BIT Sound - Detuning Function - 8 Oktaven - incl. Quantizer (Chromatic) - complex Waveform-LFO
V4CO is a bad ass unique 8bit wavetable oscillator plus subbass plus overdrive plus vca The Glitch expander, or Glithc Expender eneables: MIDI implementation: Switching the waves/banks Switching the modes for LFO, TRP and V/OKT MIDI notes, pitch bend and vibrato on CC1 Random selection of two wavetables from the active bank. The MIDI interface is placed on GLITHc and works exclusively with the V4CO"
"What do you get with a full parameter randomization and an LFO modulating FM? Played in the usual way you're almost certain to get a dog's breakfast. But with some careful step arpeggiation it can start to come together in a very DFAM-like way. If you're particularly lucky you may even be able to get the equivalent of four or five progressive sections from a single pattern.
The setup is a little bit involved so if you're impatient to see whether the DFAM sound is achieved just skip to the demo chunks at the end. My favorite is the DAF demo. These were named after creating them - don't think for a moment you can decide what you want ahead of time :D As usual the Gods will deliver to you what they see fit.
The Zen delay is proving a little "smoothing" and rhythmic coherence but other wise what you see is what you get. There's no further processing. Some of the demo tracks are slightly chopped since it's very easy to wander off the path into techno-Gristle land. Visually there's a few sections where the waveform display is missing, so my apologies, in the excitement of twiddling I forgot to switch it on :(
0:00 A mild example
0:42 LFO setup
1:56 Randomizer
2:40 Arp settings
3:42 Set scale
4:25 Roll the dice!
5:45 FM LFO issue
7:11 Demo 1: Warm Featherette
8:00 Demo 2: Funky Gabber
8:34 Demo 3: Bandpassed
10:10 Demo 4: DAF
10:42 Demo 5: Noisetown
- All functions work ( see embedded YouTube video for a quick playthrough )
- Includes Tauntek Mod, which offers loads of new features:
1) MIDI Sysex patch and patch preset save and restore - saves or restores entire tone RAM (all 48 patches and 31 patch presets) in one operation (tape save/load works as before)
2) MIDI CC parameter changes are now supported. Separate control of upper and lower voices in split mode for most parameters. (No CC's are transmitted)
Maximum rate for CC reception is two per 19 mSec period, which is approximately 105 CC's per second. If CC's are sent faster than this, some will be dropped.
3) Non-volatile storage of MIDI channel and user settings
4) User settings for the following:
a) Mod wheel CC destination can be any one of the following:
VCO mod by LFO1 amount VCF cutoff mod by LFO1 amount VCA mod by LFO1 amount LFO1 rate XMOD manual amount Pulse width VCF cutoff VCF resonance b) Arp can be clocked by MIDI instead of internal clock, with five divider settings
Can be configured to require Start/Stop, or just free-run
c) Factory patches and patch presets can be read from the EPROM instead of user patches in RAM.
(User patches are not changed)
d) "All notes off" MIDI messages sent by original code every time the last key was released can be disabled.
5) Arpeggiator "Down then up" mode has been changed to a random arpeggiator mode.
6) VCO waveform buttons now toggle, making it easier to enable multiple ones. They can all be turned off.
7) VCO sync can now be set to "both ways" although this doesn't seem particularly useful
As noted above, MIDI CC reception is now supported for controlling patch parameters."
"VCF2600 is set in resonance mode and modulated by the LFO100.
All the waveforms and functions are tested one by one."
LFO 100
Complex analogue LFO from a vintage Japanese modular system!
We injected some steroids in this LFO and the results are lot of features. Not only you can use individually the 8 waveform outputs, but you can use the alternative two linked outputs for which you can select any of the waveforms.
This alternative output has a VCA so you can fade in the LFO signal in a
defined duration with a potentiometer.
The stairs like waveforms can be changed from 16steps, 8steps, 4steps or mangled. All of these are seasoned with cv control and waveform reset.
2600 VCF
This filter is based on the classic 2600 from the seventies and uses the LM3900 Norton opamp chip.
It has an audio inputs, two CV ins and an audio out.
You can control audio input level, CV levels, frequency cutoff and resonance.
It has a beautiful sound and it can go from relatively clean to dirty and screamy depending on audio signal level and resonance.
"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."
"All synthesizer sounds were created with TAL-Pha"
TAL Pha vs MKS 50 / Alpha Juno II
video upload by
"This video compares our hardware MKS 50 with the TAL-Pha audio plug-in, which emulates the sound of the hardware device.
The videos try to capture the essence of some sounds. You will not hear beautiful melodies, just some raw hardware factory presets. I'm also a bad piano player. Probably someone else can make a better video.
The tests are carried out with the factory presets of the hardware. Both synthesizers play at the same time. We alternate the output every few seconds. The sequencer shows the volume curves; the first channel is the software and the second is the hardware.
The first row of the spectrum analyzer shows the software synthesizer. The second row is the hardware. The oscilloscope on the top shows the master channel with the waveform of the final output.
The MKS 50 is an analog device. Things will never match exactly. LFOs and DCO phases are free-running and never match. Volume, resonance intensity, and hardware envelopes are slightly different for each voice.
The intro is done with the software emulation and it's internal FX.
Notes: We improved some things like the envelope, the chorus, and also the bass boost after we made this video."
TAL-Pha is an instrument plug-in that emulates the sound of the analog 80's synthesizer Alpha Juno II (MKS-50 is the rack version).
The plug-in produces the classic analog sound, combined with modern flexibility and many additional functions. The plug-in can read and convert sysex information from the hardware and can also be used as a controller.
Authentic emulation of the 80's hardware synthesizer.
Resonance boost for filter self-oscillation.
The possibility to detune, modulate, and sync the pulse part of the DCO.
Simple but powerful FX section with delay, reverb, and a bell-eq.
Arpeggiator with different modes.
Stereo UNISON mode with up to seven voices.
Aftertouch and MPE support.
Microtuning support (tun file import and MTS Client).
Original factory banks included.
More than 380 fresh presets by Electric Himalaya, The Unfinished, Saif Sameer, emptyvessel and TAL.
Individual tuning for every voice converts the synths DCO into a VCO.
Reads Sysex files and Sysex MIDI from the hardware device.
Can also control a hardware device. If enabled, it sends Sysex through the plug-in MIDI output (only possible when supported by the DAW).
"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!"
"Full Blotter is a ticket to infinity!
It’s a smart little software that can turn any audio file (or song!) into an immense psychedelic, mesmerizing ambient drone.
(Windows version will be released in about 20 days)"
SINSTANT SPACE TRAVEL! Full Blotter is a ticket to infinity! It’s a smart little software that can turn any audio file (or song!) into an immense psychedelic, mesmerizing ambient drone. Simply drag and drop a file into the waveform window and prepare to reach the limits of the galaxy, in no time.
DRONE HEAVEN Granular synthesis often works using many small grains, Full Blotter instead use a few (ten) very large grains which have sizes of several seconds. The algorithm disintegrates transients and time and transform any audio file into a luscious stream of hypnotic frequencies.
REMIX YOURSELF OR… Remixing your music into an ambient megadrone version has never been easier and fun and using the random functions you can let it go alone for hours. You can use FullBlotter to meditate, sleep or well… take a bicycle travel… Use it wisely!
Lithuanian music technology company Blokas has recently released a significant update for their standalone MIDI router and processor, the Midihub.
At the heart of Midihub lies the concept of "pipes", sort of MIDI effects. These pipes can be seamlessly utilized using Midihub’s dedicated software editor, which boasts a versatile drag-and-drop interface for input/output configurations.
Version 1.15 introduces a suite of pipe enhancements and new features aimed at refining the MIDI processing experience. This update focuses on practical improvements that expand the device's utility and ease of use for producers and live performers, with each new feature aimed at solving common MIDI challenges.
Key Features of the Midihub 1.15 Update
Enhanced MIDI Mapping Capabilities
In this update, users gain the capability to control pipe parameters using MIDI messages generated within the Midihub itself, eliminating the necessity for physical loopbacks. This opens up a realm of intriguing possibilities for internal modifiers and self-modulation techniques. Moreover, the update allows for more detailed and precise manual MIDI mapping, enhancing control and customization.
Revamped Clock Pipe
The clock pipe, essential for tempo management, has been improved to offer more flexibility in its placement within the signal chain. New features like mappable tap-tempo and tempo nudge buttons have been added to simplify syncing with external equipment.
Precision Modulation with 14-bit LFO
A 14-bit LFO mode has been introduced, allowing for finer MIDI modulation depth and control. The addition of a Sample & Hold waveform for LFOs enables more complex and textured sound design possibilities.
New Dispatcher and Arpeggiator Algorithms
The update brings 7 fresh algorithms to the Dispatcher and Arpeggiator pipes, including "Entirely Up Then Down" and "Entirely Down Then Up" patterns. These additions provide users with more creative options for note sequencing and pattern generation.
By valuing community feedback and prioritizing the practical aspects of music creation, with the 1.15 update, Blokas ensures the Midihub remains an integral part of the creative process, simplifying MIDI workflows and sparking new creative possibilities.
See the Shear Electronics label at the bottom of this post for more.
"I had an inspiring and heart-warming experience meeting Jacob Brashears from Shear Electronics at NAMM 2024. Jacob, along with his mother Cheryl Brashears (a high performance systems engineer with a storied background) have together created a truly remarkable sounding discrete analog polyphonic synthesizer in the style of the Oberheim 8-voice Iconic SEM Synthesizer. It's aptly called the "Relic". In addition to achieving the classic sound and offering all the familiar routing of it's predecessor, the "Relic" delivers a new take with voltage controllable filter profiles (the ability to transition between HP, LP and BP filters for example), waveform blending, rich intermodulation distortion at fingertip control and all parameters are controllable with the highest resolution digital encoders available. Be sure to keep following and support this next generation synth company of mother and son on their journey to follow their dreams. I'm looking forward to playing their instrument(s) soon and seeing them flourish for a long time to come!
00:00 Anthony's Intro 00:18 Jacob's Story 00:53 About the "Relic" Synth 03:22 Sound Demonstration 04:18 About the Filters 05:08 "Take it to 11" (harmonic distortion) 05:56 Dry vs Reverb Sync Piano 06:44 Oberheim Inspired Sound 07:36 Plans for the "Relic" 08:10 Introduction to Cheryl Brashear (co-designer/engineer) 09:09 Anthony's Summary 09:56 Logo (music)E
Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including _*Young Guns*_ , _*Internal Affairs*_ , _*The Man From Elysian Fields*_ , _*15 Minutes*_ and _*Planes, Trains & Automobiles*_ , been commissioned by the *Los Angeles Philharmonic* for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as *Michael Jackson's* _*Thriller*_ .
His extensive work as a young arranger, orchestrator and performer for *Quincy Jones* , *Jack Nitzsche* , *Lamont Dozier* , *Arthur Rubenstein* and *Giorgio Moroder* was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major."
Today I'm investigating an issue with a Roland Juno-106. Voice #4 is a lot quieter than the others. And it's not a calibration issue. 99% certain it is NOT the brand new voice chips I put in as seen in a previous video. Troubleshooting will confirm that statement. So what else could it be? Maybe something EVERY 106 owner will want to be pro-active about mitigating?
This video is posted for general information about my experiences. Always observe safety working on electronics, and never tinker around inside power supplies without first unplugging the power cord. De-soldering components on the Juno-106 must be done VERY CAUTIOUSLY to avoid lifting very tiny delicate traces. If you're not sure about anything, there's no shame in taking your instrument to a qualified service technician.
Timestamps
0:00 Intro & Symptoms
0:35 Voice Chip Swap Test
1:06 Looking at the Wave Chip output
1:56 Waveform Chip replacement
2:23 Testing
2:51 Voice Board inspection and Remedy
3:19 Re-testing, did it work?"
"NEURALOOT is a suite of Max for Live devices built around the neural oscillator, which is a wavetable oscillator whose shape is generated by a neural network (the decoder section of an autoencoder, if you want to get more technical).
This in house neural network was trained on thousands of waveforms, and it learnt how to encode in the most exact way any shape in just eight parameters, that make up the latent space of the network. Each combination of these parameters is able to reconstruct a waveform, and changing gradually one or more components of the latent space lets you seamlessly morph a shape into another one.
The complexity and the properties of the generated shapes makes them perfect to be used as modulators, sequencers and
drone generators. NEURALOOT takes advantage of the neural oscillator to create all this nice stuff.
"The trusty DB-01 teamed again with the Zen delay. What you see is what you hear - there's no other sound processing of the music, not even a final limiter. Nor is there any volume tweaking of different parts. It was all recorded in one pass although it was cut down from about 5 minutes to three. The vocal samples are from a 1958 sci-fi movie 'The Day the Sky Exploded' about a swarm of asteroids threatening the Earth and the world uniting to destroy them.
The silly title 'It's not you it's me' refers to me having bought the Zen delay for the third time - a new record in the cycle of GAS and regret. But I'm reasonably confident I've finally accepted what I don't like about the Zen and the fact that I will never find the perfect delay - the 'Zen' name adding a final dollop of irony to the whole thing.
The re-buy was also helped along by the sad story of my new 'blackout' Line6 DL-4 delay. Imported it from Thomann in Germany and it was dead on arrival. Well, not quite dead, it would work for anywhere between 30 seconds and two minutes and then freeze. A shame because it sounded pretty good from the little previews I managed to hear.
You may notice I added another cable to the DB-01 rear from the clock out to the gate in. It adds little sixteenth note clicks. The waveform displays the interesting left-right variation created by the Zen.
In other news, it may be time to create a DB-01 'masters' school. Your rank will be determined by how much text from your interface has been rubbed away. At least with my two machines I can tell which one I bought first.
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)"
"Jim Heywood from Earmonkey music responded to multiple requests via our Instagram comments to take a closer look at the Modal Electronics Carbon8.
It looks like after a period of uncertainty, that Modal will be back, and the Carbon8 will be in production.
Carbon 8 employs over 40 complex waveform algorithms, and is geared towards the more aggressive and modern spectrum of sounds. With two discrete oscillators, the Carbon 8 has a similar form factor to earlier Modal Synths, but has a new mixing stage with independent level controls for each oscillator."
"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."
"Original model MidiMoog.. Not very many of these made. This was one of SE's first builds. These few MidiMoog's had an original vintage Moog MiniMoog OSC board.. this is one of those.
