Top 5 MAKE NOISE MATHS Patches!

video upload by The Unperson

"I'm not sure why I've never made a video about Make Noise Maths, as it appears in every single one of my videos, but here it is - my top 5 Maths patches!

CONTENT
0:00 - Intro
1:09 - Overview
3:53 - Envelope
7:59 - Slew Generator
10:37 - Fat Drums
14:10 - Side Chain Compression
18:06 - Noise Compilation
23:47 - Outro

#modularsynth #eurorack #maths"

Those left behind | Spectralis 2 and Sequential Prophet 10

video upload by MIDERA

"I received the email - I got to the top of the queue for the Cirklon. Why did I even sign up for it? I spent 3 years not preparing for it, just assuming some day I would have to make a decision, and now I'm here. What would it do for me I can't already do? My Spectralis does all I need, albeit, in maybe not the best way possible - but is there a best way? Sure, I can see the Cirklon does more, better, faster, but also maybe does things I don't care about.

I actually hate having a lot of gear hooked up. Slows me down. 3-4 pieces is good enough for me. If you can't make a song with only a few instruments, then I question whether you can make music at all (Ok, that's just me talking to myself about my own capacities - huge orchestras are built off of tons of instruments, I get it). What I make is simple, sad, and that's it. My music only speaks to me saying: some day - you will not be among the living and this music is being made to haunt those left behind.

I know the Cirklon is the 'best sequencer' out there... so maybe I just need to buy it and see for myself. I do know the Spectralis does stuff I really enjoy, like sequencing itself and other gear, using it as an FX processor to manipulate all sorts of things to the beat. Just a unique piece... I also know it so well.

Radikal Technologies Spectralis 2: Sequencing, Drums, Strings, Piano
Sequential Prophet 10: First sound you hear.
Eventide Blackhole VST: Reverb"

TR-909 Firmware Version 5 Demos

See this post for details.

Playlist:

1. TR-909 FIRMWARE VERSION 5 UPGRADE!!!

// The most wonderful thing that could have ever happened for Roland TR-909 owners and lovers has actually happened.

2. TR-909 FIRMWARE V.5 - Demonstration 1 - MIDI SYNC CORRECTION

// I’ve installed one of the first Revolution 909 firmware upgrades from Addictive Instruments into my own personal Roland TR-909 and I released a little enthusiastic clip about how delighted I am to have 33 year old serious problems resolved. This is the first of a few posts planned for today to show you why it’s so amazing to me.

3. TR-909 FIRMWARE VERSION 5 - Demonstration 2 - SWITCH BETWEEN PLAY AND WRITE MODE IN REAL TIME

// This is something that I’ve been thinking about since 1991 when I first got my own TR-909: The ability to switch between pattern play and pattern write without having to stop the sequencer.

WHY IS THIS IMPORTANT?
The TR-909 in pattern write mode allows us to do some clever things. We can change the length of the pattern using last step, and we can add and subtract notes and accents (internal and external) to develop our pattern. However, we can only do this in write mode.
So in order to do these things in performance we have to A ) stop, change modes, and start again B ) stay in write mode always (can’t change patterns in write mode) C ) program our drums from another device entirely D ) add all the chaos, and then use the level knobs to bring sounds in and out (the way maestro Jeff Mills makes magic!) or E ) make a ton of patterns ahead of time and switch between them as our performance.
We can do mutes on a mixer, use a midi controller. There are options, but when I’m playing live it’s just me. I have stuff happening. It’s a lot to navigate and keep track of. Changing mixer settings, dealing with midi controllers, or even flipping through preset patterns can be distracting and a bummer. Adding the ability to just get into write mode and change the length for a fill, or a sidetrack, or a totally new in the moment idea is fantastic!

4. TR-909 FIRMWARE VERSION 5- Demonstration 3 - MUTES

// This is something which I didn’t anticipate being so amazing. I use mutes on the mixer as a fundamental part of how I perform live, but I don’t tend to reach for instrument mute functions on the actual devices. This is not a personal bias, but rather a point of clarity. I’m doing like 25 things at once in any given performance (and singing) so it’s pretty easy to forget what I’ve muted or un muted unless it’s in central place (like on the mixer), but after all I just explored in demonstration clip 2 about ways to add and subtract sounds live, mutes are a marvelous and really powerful addition to this list of ways to address patten complexity in a live performance.

5. TR-909 FIRMWARE VERSION 5 - Demonstration 4 - INSTANT PATTERN CHANGES

// Ok, this is really simple, but it’s so super extra totally bad ass.

Fig.1 INSTANT PATTERN CHANGES
The thing about the TR-909 is that it doesn’t instantly change patterns. You have to wait for the end, and then it starts the next selected pattern. To get around this you can do some stuff:
• make some really complicated patterns
• make one big complex pattern and then use the mixer to bring things in and out (fun!)
But this is fantastic! Just hold down shift and start instantly jumping between patterns. Add a crash from a crashy pattern, start a fill, and switch to just a kick drum, mix and match patterns and really get something heavy going - THEN get involved with the mixer, and it’s a gorgeous avalanche of TR-909 awesome!

In my example here I’m just showing you that it’s possible now. The rest is up to you.

Addictive Instruments have released firmware version 5 for the Roland TR-909 and the RE-909. It’s a real upgrade which requires soldering and while it isn’t easily reversible, the upgrade also includes firmware v1 and v4 so you can revert by choosing another firmware and booting it that way (no one would ever know).

Find out more at revolution909.fr
This first batch is limited to 100 so if you’re as happy about this as I am, hurry up!
That said, I believe in these guys and totally hope that this all goes well, and this will continue to be available (and more!) until all the TR/RE-909’s have one inside.

This was demo 4, one more and I’ll leave the rest to you.

6. TR-909 FIRMWARE VERSION 5 - Demonstration 5 - EXTERNAL INSTRUMENT

// I’ve been using the EXT INST function of the Roland TR-909 since the day I got it. I love triggering samples, basslines, and other drum machines from the stately TR-909’s main panel. The hassle has always been that the notes it generates can’t be changed. So you get an octave or so of fixed notes and that’s all. I’ve spent a lot of time messing with samplers and getting the sounds I want to trigger from the notes I have to offer, and while it’s fun, and useful, it can be a drag. Fact is, a lot of people never even explored it.

Fig.1 CENTRAL CONTROL WITH TR-727
The TR-727 doesn’t allow us to control its midi notes either, but the Addictive Instruments firmware v.5 update has presets and it has a user mode (fig.2). So we can play any note we want on any channel we want at any velocity we want now.
My 727 is upgraded with Harry Axten‘s perfect sound rom upgrade, and this is my own custom rom, and here it is being beautifully programmed by my beloved TR-909!

Fig.3 BASSLINE
This is an example of using the user template to create a chromatic keyboard and programming a bassline which is saved with my drums, and subject to all the new and original functions of the 909.
So much fun!

Clearly I was already in love with my TR-909, but I’ve fallen all over again here.

The external instrument mode is expanded, and it much more powerful now, it’s also nicely documented (at last) in the manual. It is more complicated than plug it in and go if you want to make the most of it, and it’s worth it. This is something wonderful.

Powerful but Simple Eurorack Multichannel Sample Player // Samples 2 by SoundForce

video upload by DivKid

Video timeline below.

"Wow what an impressively powerful yet somehow simple use of 4HP! The new Samples 2 from SoundForce is a multichannel sample player with loads of features offering lots of musical approaches to working with samples, mono or stereo use, on board mixing, simple sample and settings file set up and more than I'm going to write out here. Watch the video, I hope you're as impressed with it as I am."

CLICK FOR MORE »

Ekko From Mars - Legendary Eko Computerhythm Sample Pack

video upload by Samples From Mars

"The rarest drum machine we've ever sampled!

https://samplesfrommars.com/products/...

Ekko From Mars contains 275 loops and 240 round robin one-hits, with clean and processed versions for both. You'll get full-beat loops and stems for bass drums, tops and more - ranging from classic rhythm box patterns to more modern genres. This is the most extensive sample pack available of the beloved early 70's Italian made Eko Computerhythm."

Samples From Mars · Ekko From Mars

"Released in 1972, the Italian-made Eko Computerhythm (which we're lovingly referring to as the 'Ekko') was the first programmable drum machine, shaping the sound of electronic music forever after. With only around 50 ever made and less than 15 in circulation today, it's taken us years to find one - but finally, we have, and our high expectations have been exceeded- nothing could fully prepare us for how cool this thing is to look at, play and hear!

Of course, we wanted to share this joy with you by creating the most extensive Eko sample pack in existence. Capturing round robin one-hits, loops and stems, we preserved the natural sound of this pioneering rhythm box, and further processed it to extend the possibilities of this analog powerhouse for years to come.

The First Programmable Drum Machine

Rhythm boxes were first created out of necessity, to provide pre-made beats to accompany an organ player, for example. As such, they were hardly considered instruments in their own right.

We aren't sure exactly why Eko, an Italian company making guitars and organs during the psychedelic revolution of the 60's, had the foresight to create the first ever user programmable step sequencer (possibly some mind-expanding substances?). But what we do know is that this step sequencer would change the face of music and music technology forever after, (after all, we're still using it today!)

Sporting a space-age user interface with 16 steps per track for user input, a punch card reader to load sequences, 12 voices and individual outs, musicians were no longer reliant on using pre-programmed factory Waltz and Fox Trot presets, and could finally program their own custom patterns and perform live with an analog drum machine. The Computerhythm quickly garnered favor with innovative musicians and groundbreaking composers like Jean-Michel Jarre, Lee Scratch Perry and Tangerine Dream.

Preserving the Original Sound
The Eko features 12 classic rhythm box sounds (ok, one is a 'rolling drum' which is quite odd) and upon first listen, it is warm, punchy and full of life- somehow more defined and pro sounding than any other rhythm box we've used - likely due to its robust internal electronics (this thing is huge!) and direct outs."

MFB TANZBAR 2 WITH VERMONA RETROVERB AND LEPLOOP LIVE JAM

video upload by Why Drums

"Almost all of this is from the Tanzbar 2. The Vermona does not actually create as much of the drive/distortion as you might think, as the Tanzbar 2 has a secret weapon in the onboard (but almost hidden) bit crusher, plus the very dirty filters that very quickly sound crunchy when you trigger what should be melodic samples through them. The LEPLOOP just adds a small amount of synth stuff at the end. I enjoyed this one a lot hence all the camera nonsense."

MFB TANZBAR 2 JAM WITH THE LEPLOOP

video upload by Why Drums

"The LEPLOOP does the kick and white noise snare, and a tiny bit of synth. The MFB Tanzbar 2 does everything else. The Tanzbar 2 is a bit of pain in the arse to use but it sounds great- it's fun to try and make it do what you want.

The filters on it are really rough, which works great on clap and perc sounds. The bass synth is out of tune, and the bass sequencer is a nightmare, but then of course you get some unexpected results.

I love the LEPLOOP kick, it works so well as a foundation. Very fun to try and make these two idiosyncratic machines work together is a rubbery way."

LEPLOOP DRUM MACHINE IMPROV IN A HOTEL IN MUNICH

video upload by Why Drums

"A free improvisation with the LEPLOOP, recording through the OP-Z into a laptop, and using a little bit of reverb from the OP-Z. What a brilliant instrument."

https://www.leploop.org/

Update:

LEPLOOP LIVE WITH T REX REPLICATOR TAPE DELAY

video upload by

"A live jam with the LEPLOOP and a great tape delay pedal- The T-Rex Replicator. I love the weird harmony the LEPLOOP is doing, which of course I will never be able to create ever again. OH WELL! Fun, anyway."

Gone | MIDERA - Downtempo IDM

video upload by MIDERA

"I have been debating selling my Roland JX-3P (well, trading it for my old Virus kB, because I just love that keybed, even though I've got the TI). So of course I brought my JX-3P out and tested it out. Then I tested it against my System 8. Doing that made me just appreciate the JX more. Sigh. I don’t know why it is so difficult to part with this stuff. But when I played this sound (that you hear at the beginning), it just sang to me. I loved the noise that seems to become additive with more notes. It somehow helps create the tone I’m going for, especially when sent through the Strymon Volante pedal. It’s not that the System 8 doesn’t sound similar (in fact, I think I created this sound on the S8 first and then ported it over to the JX), it does, but it doesn’t impart any noise, or what I would call “character”. It just sounds lifeless in comparison. And so I’m left with what I’m always left with. More gear, because I find all my stuff useful and fun.

Well, I’m sure I could just do the trade. I bet any number of synths I have could make this sound. It didn’t even use ‘that famous Roland Chorus’. I probably spend more time trying to tell myself I can sell my gear, and then don’t, than I do playing the gear for music.

But I guess this time I used it to my advantage. I made a song of it.

Gear:
Radikal Technologies Spectralis II (Drums, sequencing)
Virus TI (Pad parts and keys)
Roland JX-3P (intro part and similar sounds throughout)
Sequential Prophet 10 (synth part)
Strymon Volante (delay for JX-3P)
Eventide Blackhole VST (reverb)"

Dave Smith Mopho x4 ► Sound Demo [1 HOUR]

video upload by Mr. Card

You can use the player controls to skip around.

"Check out my free Dave Smith Mopho x4 sample pack: https://bit.ly/mophox4samples

Contents:
00:00 Prophet 5 sounds
05:08 Ambient arp
10:19 Strings sound
13:44 Prophet 5 sounds + FX
20:16 Ambient jam
25:22 Soft lead
28:30 Organ sound
31:16 Ambient jam
39:31 Why I love Mopho x4?
44:15 Mopho x4 + Techno drums
47:12 Prophet 08 sounds
52:31 Mopho x4 in 10 minutes
01:02:46 R.I.P. Dave Smith | Mopho x4"

Liven MEGA SYNTHESIS - Tutorial Part 1 - Pattern Editing Deep Dive

video upload by ChrisLody

"Full Disclosure: I occasionally take on freelance work at Sonicware on an hourly rate producing synth & sample sound design, beta testing, checking English text and videos like this. Any other shorter videos on my channel containing Sonicware products are not paid content.

More about the Sonicware Liven MEGA Synthesis:
Sonicware's Website: https://sonicware.jp/pages/liven-mega...
Trailer & Yuzo Koshiro's Patterns: [posted here]
My quick overview video: [2nd video here]

So as promised here is my Sonicware Liven MEGA Synthesis deep dive video. This video will look at pattern editing including everything that's available to make your own music. The next video will focus on the FM sound editing overlay so will cover how to make your own sounds

Sonicware and I have both noted how many customers have bought the Liven MEGA Synthesis who have never bought an instrument before, so I've done my best to make this video as beginner friendly as possible which is why this video is quite long. If you're more experienced please use the chapter markers so skip through to relevant sections.

CLICK FOR MORE »

Texture Lab in the Effects Processor Mode with an Electric Guitar

video upload by SONICWARE

"Daniel Rose demonstrates an electric guitar connected to LIVEN Texture Lab.
The Texture Lab is a Granular synthesizer and effector with a majestic Shimmer Reverb. https://sonicware.jp/pages/liven-text...

Check out his instruction video:"

How to Use the Sonicware Texture Lab as a Live Granular Effects Processor

video upload by SONICWARE

"Timestamps / Table of Contents:

Section 1: basic principles

Part 1: the non-granular side of the blend
1:35 - intro
1:57 - first synth sound and default effects mode sound
2:32 - notes on blend, reverb, and filter
5:56 - tip #1

Part 2: the granular side of the blend
6:44 - intro
7:51 - notes on playback direction (❗important❗)

CLICK FOR MORE »

What is filter pinging (and filter ringing)? A demo with BRENSO and CUNSA

video upload by Frap Tools

"Today we'll see what's filter pinging, how to ping a filter, and why it can mean more things."

00:00 Introduction
00:13 Chris Meyer's definition of "pingable"
02:08 Pinging BRENSO and CUNSA
06:20 CUNSA's Combo Mode
08:06 Pinging a resonant filter: analog drums
09:26 Allen Strange's definition of "Ringing"
10:32 Ringing CUNSA
12:25 Adding V/oct and ringing more filters at once
14:19 Closing remark: filter pinging and filter ringing

Behringer UB-Xa - - Milestone - - by "The Synth King"

video upload by The Synth King

"This video showcases a complete song I´ve composed and produced with sounds exclusively from the Behringer UB-Xa (except drums). The opening bass line was made with the built in step sequencer running in sync to the DAW. I've used a single reverb and two delay plugins for this track. There is no EQing or dynamic processing involved. All sounds were recorded directly into the audiointerface."

Update via Behringer:

"As we’re getting ready for the production of the long awaited UB-Xa, we’d like to share a beautifully crafted video of the Synth King.

It demonstrates that this amazing synth is not only capable of capturing the legacy sounds of the ‘80s but also deliver modern sounds and timbres.

The UB-Xa is one of our most complex products we have ever designed in our 35 years of history. 15 engineers worked over 4 years, delivering 8 hardware revisions and countless firmware upgrades, while co-innovating with 20 beta testers who all own the original OB-Xa synth. Our objective was to spend as much time and resources it takes and only release it when it is perfect. The UB-Xa is now completed and we’re ramping up for production. As Uli stated from the beginning, this synth was never meant as a commercially driven product, but rather a labor of love. In fact, it might never make us any money and that’s OK. For that reason, we plan to offer if at the lowest possible price and at a fraction of competitive products.

We’re sorry this has taken so long but we now have a synth jewel we’re very proud of and a fantastic platform that will allow us to deliver new poly synths at a much shorter time. We’d like to thank all the beta testers who spent years and countless hours to help us bring the UB-Xa to life.

And finally, we’d like to thank all of you for your support and patience. You’re the reason why we love what we do."

Drums? Bass? Why not Both?

video upload by MAKEN0ISE

"In which we patch some drums, and maybe some bass.

http://www.makenoisemusic.com"

Synth jam with Arturia MiniFreak, Dreadbox Erebus, eurorack drums, and Reason 12 synths

video upload by Jay Hosking

"An impromptu song that started on hardware synths and eurorack, and was finished by adding some extra sounds in the box.

This is a great example of why I love both hardware (it's inspiring!) and software (it has incredible power and can get the job finished!). Here, I was just trying out a new eurorack drum sequencer, decided to send the kick trig to the Erebus, and then began noodling on top with the MiniFreak. I wrote the song before I even knew I was writing a song. And while it was super inspiring, I could tell that I'd need a bunch more instruments to make the song feel finished. Rather than expanding the table and slowing down the creative process, I captured the inspiration already there and finished off the job in Reason afterward. It was definitely the right approach.

Dreadbox Erebus through Source Audio Ventris - bass synth locked to kick
Arturia MiniFreak - melody and pads
Eurorack drums:
- Intellijel Steppy - sequencer
- Mystic Circuits IDUM - extra glitch sequencing
- ALM Busy Circuits Pamela's New Workout - clock and LFOs
- Prok drums - kick, snare, hats
- WMD Fracture - glass-breaking claps
- Intellijel Mixup - mixing
- Noise Engineering Desmodus Versio - ducked reverb
- Intellijel FSR 1U - performance of glass breaking and reverb room size
- Endorphin.es Golden Master 1U - multi-band compression and EQ
- Intellijel Mixer 1U - output mixer
Reason 12 instruments:
- Monotone - extra bass stabs in bridges and choruses 2 and 3
- Complex-1 - arp thing, and drone/brass/pad thing
- Audio editing/pitch adjustment of the Erebus notes in the chorus (didn't have enough hands during the jam)

Hardware synths recorded together live, with a few extra tracks in the box afterward. EQ'd, compressed, limited, etc. during the final mix/master.

Thanks for listening.

https://jayhosking.bandcamp.com"

RS054 Evolution Synthesis EVS-1: Algorithmical

video upload by rejected synths

"Being ahead of your time has been a topic discussed on this channel more than once, as there are quite a few synths that ended up on rejected synths because they were too far ahead of their time in one way or another. So it’s no surprise that today’s synth, which managed to be ahead of it’s time in more than just one sense, ended up on this channel.

The Evolution Synthesis EVS-1 is a digital rack synth that brought (multi) algorhythmic digital synthesis and computer editing of patches to the table...eh, I mean rack as early as 1990. It may look like a very humble 1HE Rack unit with a tiny display and only very few connectors, but it actually is quite capable as it is eight part multitimbral (at 16 voices), has a full onboard PCM drum kit and a whole array (28) of more or less exotic algorhythms.

Sure, without the late 80s home computer at hand originally required to edit the 20 available user memory slots, many considered it to be yet another boring fm expander, and FM certainly is what most presets sound like. But dive deeper and you’d soon realize that this thing can output some very interesting, wavetably, otherworldly sounds.

Playlist:

0:00 Intro
0:20 Introduction
1:46 Standout features
3:48 Why did it fail?
4:41 PCM Drums Demo
5:13 Controls and Connectors
6:31 Preset Demos: 02 Warm Strings
7:00 Preset Demos: 07 Ethereal
7:21 Preset Demos: 09 SynthBrass1
7:39 Preset Demos: 10 X7Bass
8:09 Preset Demos: 12 DeepString
8:42 Preset Demos: 23 BloozyBox
8:56 Preset Demos: 30 MetalBrass
9:13 Preset Demos: 38 SweepSynth
9:35 Preset Demos: 47 SynthModWh
10:02 Preset Demos: 54 Hefern
10:30 Preset Demos: 58 VocalStrng
11:00 Preset Demos: 60 Chattring
11:23 Preset Demos: 69 WarmStrng3
11:33 Preset Demos: 75 Swamp
12:06 Preset Demos: 77 Pretty
12:20 Preset Demos: 80 Plinkety
12:41 Preset Demos: 81 EinStein
13:24 Preset Demos: 83 Dissonant
13:43 Available Editors
15:11 Custom Patch Demos: deep_dream
15:44 Custom Patch Demos: deep_reso2
16:11 Custom Patch Demos: deep_revrb
16:44 Custom Patch Demos: deep_waver
17:24 Multitimbral Demo Song: Daftness
19:27 Conclusion
19:56 Outro"

Modbap Introduces HUE "AUDIO COLOR PROCESSOR" Eurorack Module

video upload by Modbap Modular

Modbap Modular makes colorful Eurorack entrance at Brooklyn SYNTH+PEDAL EXPO with HUE debuting as AUDIO COLOR PROCESSOR


LOS ANGELES, CA, USA: following hot in the footsteps of Trinity, the fourth entry in its expanding Eurorack product lineup as a three-channel DIGITAL DRUM SYNTH ARRAY (as introduced at Knobcon Number Ten, a one-of-a-kind synthesizer convention held just outside of Chicago, IL, USA at the Hyatt Regency Schaumburg, September 9-11), black-owned Eurorack modular synthesis and electronic musical instrument manufacturer Modbap Modular is proud to debut HUE as its latest Eurorack entry — this time being billed as an AUDIO COLOR PROCESSOR, packing a chain of five effects (each imparting a particular coloration, tone, distortion, and/or texture to the source audio) into a 6HP- width module, making drums bang with more magnitude and melodies morph into lush lo-fi tones — at Brooklyn SYNTH+PEDAL EXPO, a free-to-the-public pop-up event of synths and guitar effect pedals, at 718 Studios, Brooklyn, NYC, USA, October 8-9…

“HUE was originally designed as the effects section for Trinity; the thought was to create an effects section that would simulate the classic, lush boom- bap and lo-fi vibes that we’ve come to love.” So says Modbap Modular founder/owner/designer Corry Banks, before continuing: “I want to bring those nostalgic textures that make things bang a bit harder and feel a bit grittier and more soulful into a single Eurorack module. HUE pairs very well with drum sources, such as Trinity, or melodic sources, such as Osiris, to further cultivate ‘that sound’. Saying that, HUE, in moderation, makes things sound more beautiful, but it can become brolic when pushed to its limits.”

Maximum (musical) muscle notwithstanding, HUE’s goal is to simply color its user’s sound — hence highlighting that the aim of its name is true, thanks to the COLOR PROCESSOR wording written across the top of its slimline front panel. Its initial concept was born out of a debate about the techniques and processes used to make drum machines sound so big, bold, and delicious. It is worth bearing in mind here, then, that the sounds that tug at the heartstrings of boom-bap, lo-fi, and, subsequently, Modbap — meaning the fusion of modular synthesis and boom-bap (or, indeed, any form of hip-hop) — are those demonstrating great texture, lush degradation, soft distortion, and big bold strokes of color.

Classic beloved drum machines were often processed with outboard gear; recorded to tape; pressed to vinyl; played over big, booming sound systems; sampled; resampled, and so on. It is no surprise, therefore, that those are the sounds that become nostalgic and reminiscent of all that the black-owned Eurorack modular synthesis and electronic musical instrument manufacturer adores about classic lo-fi boom-bap production, with HUE representing its attempt at bringing that vibe into Eurorack as a 6HP-width module.

Acting as a COLOR PROCESSOR, HUE’s effects chain signal path is as follows: DRIVE, FILTER, TAPE (saturation), LO-FI, and COMP (compressor), with the panel layout allowing for the DJ-style FILTER knob to sit in first position for ease of tweaking — LP (low-pass) when turned to the left through to HP (high- pass) when turned to the right. Digging deeper, DRIVE boosts and lightly distorts the signal, while SHIFT+DRIVE adjusts the DRIVE tone; the TAPE effect is intended to impart cassette tape saturation, while SHIFT+TAPE adjusts the intensity; LO-FI adjusts bit depth, while SHIFT+LO-FI adjusts sample rate; and, lastly, the one-knob COMP mini-pot serves as the final glue in the signal path that brings everything together. There are also DRIVE CV, FILTER CV, TAPE CV, and LO-FI CV inputs, as well as mono INPUT and OUT connections, collectively opening up a wealth of creative possibilities. Put it this way: when throwing creative modulation at it, HUE is truly a textural beast.

But best of all, HUE puts the power to shape and transform its user’s sound at their fingertips — perfect for beefing up drums while equally as magical when working on melodic content, which is exactly why it pairs so well with Trinity (https://www.modbap.com/products/trinity), the fourth entry in Modbap Modular’s expanding Eurorack product lineup as a three-channel DIGITAL DRUM SYNTH ARRAY, and Osiris (https://www.modbap.com/products/osiris), a sensational-sounding BI-FIDELITYTM WAVETABLE OSC (oscillator) module for Eurorack (introduced to widespread critical acclaim at last year’s Knobcon Number Nine). Needless to say, HUE — like its Eurorack siblings — exemplifies Modbap Modular’s musical mantra: Made for Eurorack, dope enough for boom-bap!


Expected to ship in late-October 2022, HUE is available to preorder at an MSRP (Manufacturer’s Suggested Retail Price) of $299.00 USD via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) — including Sweetwater (https://www.sweetwater.com), the USA’s number one eCommerce provider of music instruments and pro audio gear — or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/hue

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Magerit Eurorack Modules

Magerit LANIAKEA - A "cosmic" oscillator - New Release video upload by Magerit

CLICK FOR MORE »

Patch of The Week: Analogue Kick Drums in Eurorack with the AJH Synth MiniMod Modular Synth System

video upload by AJH Synth Official

"A simple analogue kick drum patch easily recreated in Eurorack, or even some self-contained synths. This isn't modelled on a particular classic or vintage kick sound, but uses a common process for creating such a sound that is easily tweakable to suit your own ears. Check out our past 'Patch of The Week' videos for other percussion sounds, including analog claps, and using a self-oscillating filter to create various claves, rim shots, cowbell, even a rudimentary kick.

Video by DreamsOfWires

PATCH NOTES:
------------------------
Download PDF with diagram - https://kvisit.com/8AE/qvwG
Green dots show approximate pot and switch positions, and where there are 2 dots on the same pot, this indicates the range I adjust them during the video. Pots and switches that do not have green dots are not used in this patch, and should be left at their zero or off positions.
GLIDE + NOISE: I used the white noise in this patch - not all vintage kick drum sounds used a noise source, but it is optional based on personal taste. I find it gives the sound a more similar character to a real kick drum, whereas without it the sound is more distinctly electronic.
VCO: A good kick sound can be generated using just the filter in self-oscillation, but using a dedicated VCO provides greater flexibility, especially when combining with other audio sources, such as white noise. Base pitch and level of Exp CV from the envelope should be experimented with.
VCF: Envelope control of filter frequency will not make much difference to the sound without the white noise, as then you would only be filtering a triangle wave. This is why I've simply copied the envelope that's also opening the VCA.
ENVELOPE: Ideally there needs to be separate envelopes for the VCO and the VCA/VCF, as one is controlling pitch, and the other volume (& tone), which both have a very different impact on the sound. A pair of DH-ADSR's would offer greater dynamic control, as mentioned in the video, but the CONTOUR GENERATORS is fine too.
VCA: The DISCRETE CASCADED VCA allows a little bit of overdrive when input levels are pushed. Even more so when used with the GAIN SWITCH (See our other videos), but also the MUTING MIXER can be used, as it's built around the same VCA circuit and has a built-in overdrive function."