"Authentic re-creations of Synthesis Technology Eurorack modules
Accurate DSP models of analog circuitry
Digital firmware optimized for VCV Rack"
Playlist:
Synthesis Technology E340 Cloud Generator for VCV Rack
All sounds from Synthesis Technology E340 Cloud Generator
Synthesis Technology E350 Morphing Terrarium for VCV Rack
All sounds from Synthesis Technology E350 Morphing Terrarium
Synthesis Technology E355 Morphing Dual LFO for VCV Rack
All sounds from Synthesis Technology E355 Morphing Dual LFO
Synthesis Technology E440 Discrete OTA VCF for VCV Rack
All sounds from Synthesis Technology E440 Discrete OTA VCF
The Synthesis Technology E340 is a super-saw/sine oscillator capable of generating up to 8 waveforms per output. If you want massive bass and lead voices like the JP-8000 supersaw, or thick ambient drones as if played from a slow rotary speaker, the E340 is the perfect audio source for your synth patches.
Detune the swarm of oscillators using SPREAD or with randomly filtered noise using CHAOS and CHAOS BW (bandwidth). Reset the phase of all waveforms using the SYNC trigger input, which can use another oscillator to produce a sync-lead sound.
This module supports VCV Rack’s polyphonic cables, so with 16 voices, you can generate a total of 128 waveforms per output.
This VCV Rack software module uses the original firmware from the hardware Synthesis Technology E340 module.
A new desktop synth from Erica Synths minus the ocillators?
Details follow:
No oscillators, 8 voice polyphony.
The Steampipe is a true physical modelling synthesizer developed in close collaboration with Dutch company 112.dB.
The Steampipe has no conventional oscillators. Instead, it mimics the way sound is created in wind instruments and it is fine-tuned to create a wide range of sounds - everything from wind instruments to strings, pipe organs, crazy effects and beyond. The Steampipe has three major sections – STEAM, PIPE and REVERBERATOR.
The STEAM section can be compared to the lungs and mouth of a musician. The generator creates the flow of air or “steam”, the envelope in this section determines the force with which it is blown out. DC/noise is the noise you get when blowing out. DC/Noise on the Steampipe can also be replaced with an external audio source.
The PIPE section can be compared to a flute. In the pipe, the tune is formed. Push (in feedback) bounces the steam like it does in a flute and generates the tone. The delay box subsection changes the flute’s tuning and shape.
The REVERBERATOR adds space and ambience to the sound.
The Steampipe is optimized for performance with wind MIDI controllers and it works great with any MIDI keyboard. The overtones the Steampipe produces are very organic and rich and it comes with great-sounding presets. The Steampipe is rather versatile and allows for nuanced sonic exploration, conjuring sonic imagery ranging from from wisps of cloud to fairground band organs, then to industrial horns of the railroad and finally, to massive, otherworldly ambiences.
"The Synthesis Technology E352 combines the latest 200MHz 32-bit ARM DSP with SynthTech's Cloud and Morphing algorithms found in the legendary E340 Cloud Generator and the E350 Morphing Terrarium.
The VCO is based upon a unique implementation of wavetable synthesis using 256 fixed-sample-length tables of 16-bit values. Each bank in memory consists of 64 wavetables, in an 8x8 array (like a chessboard). The proprietary DSP algorithms then allow either smooth or 'glitched' morphing between the wavetables in various ways. The E352 comes with 3 factory banks (192 total waves) and internal FLASH memory to hold 26 user-defined banks. This allows over 1,650 individual wavetables to be accessible. The free, cross-platform WaveEdit program is used to generate and import WAV files to user Banks.
Each VCO has 3 CV inputs (called Parameters or PARMs) which the VCO mode assigns to functions within that algorithm. In addition, there is a hard SYNC input, and the FM can be set to exponential or 3 ranges of TZFM (Thru-Zero FM)."
"Thanks for watching!
Full patch notes are available on Patreon here: https://www.patreon.com/pgarbaczonek?...
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It's a mostly generative patch, except for the Deckard's Voice, which I played after I recorded the generative patch from the TipTop Case. The pitch and gate outputs from the Arturia Keystep are going directly into the module.
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Here are some links of mine: https://linktr.ee/pgarbaczonek
Go follow my Patreon here: https://www.patreon.com/pgarbaczonek?..."
Note seeing a link for the patches. Check with SynthaTone on YouTube if interested.
"Roland JX-3P Organ, Pan Flute, Saxophone and Brass Section preset patch demo. These patches are examples from a soon-to-be-released sound set that will be available at an affordable price.
These patches can be loaded into a stock JX-3P from a cell phone headphone jack to the input jack of the Tape Memory interface on the back of the synthesizer. An old phone that you have but no longer use makes a great dedicated storage device that you can always have hooked up for easy access. This is a good workaround if your JX-3P has a dead battery and you want to load sounds until you get the battery replaced.
These patches can be programmed manually into a Kiwi-3p KiwiTechnics or River Creative Technology (Organix) modified unit or a Roland Sound Cloud ACB VST instrument using the included data chart decoded from the tape memory audio file.
The JX-3P has a 3rd memory bank with 16 additional presets in the Service Mode. This memory is shared with the Sequencer and is overwritten when a sequence is written. However, if you write a short sequence of no more than 32 steps, it will still be there after you write patches into the 3rd memory bank.
Service Mode is accessed by pressing and releasing the Tape Memory button, then while pressing and holding patch button 4, pressing and releasing the Tape Memory button again. An alternative method is to press and hold patch button 4 when the JX-3P is switched off and then switching it on.
The JX-3P factory presets only hint at the sonic possibilities of this instrument. With the same basic sound as the Jupiter 8, I have found that the JX-3P's only real limitations are the shared envelope generator, and lack of a 2' pitch for the oscillators even though there is a button available for it, something that is found on the Jupiter 6 and Jx-8P. There are workarounds to these limitations that can still enable the creation of fun-to-play sounds reminiscent of the Yamaha DX7 and the Roland D-50. I have come to believe that the JX-3P really should have been named the JX-6, with the JX-8P designated JX-6A or JX-8 if it were upgraded to 8 note polyphony.
The soundtrack for this video was produced in Reaper with the plugins MT Power Drum Kit 2 for percussion and Sanford Sound Design Reverb for ambience. The JX-3P was recorded live in monophonic audio. The music is an original composition."
"Roland JX-3P Saxophone, Brass Section, Pan Flute and Organ custom preset patch demo.
The soundtrack for this video was produced in Reaper with the plugins MT Power Drum Kit 2 for percussion and Sanford Sound Design Reverb for ambience. The JX-3P was recorded live in monophonic audio. The music is an original composition."
"Thank you all so much for watching my performance! Date: December 14th, 2021 Location: B54 at Berklee College Of Music, EPD Labs (Electronic Production and Design)
This show was my showcase as part of my EP-491's final project for my major. Aside from finishing a 5-track EP in a semester, I also was preparing this set for a very long time along with all the music. I decided to pull in a few songs from my previous EP: Experimental EP, Vol. 01, to spice up the performance a bit. The songs included were: Conformity, as the first song after the modular-only section; Time, which was the song at the end of the set with the QR code to my social media links. Everything else was songs from the past 4 months.
All the visuals were edited beat by beat, a song by song in Adobe Premiere Pro, and then rendered and then put into an Ableton Session to be played in a specific earlier-defined order.
I divided the show into 2 sections: Ambient Experimental, and Glitch Experimental.
The first part included rhythm-free elements only and primarily played on various modular synths, up until the 13th minute, where modular synths were supporting all the songs played in order.
The second part included various drum elements, as well as glitch music and frequency spectrum bending polyrhythms.
In terms of gear used, I used my Zoom L-12 Multitrack Mixer, to record all of the individual inputs directly into Ableton. Ableton had different effects in the effects chain of each track depending on what was necessary for each one.
For all the weird clock-driven, laser-sounding fast atonal sounds, I used the CMS MR-15 Modular System based off of the ARP 2500. For some chords and mild sawtooth progressions, I used the Blue Marvin 2600, which is based on the ARP 2600 with built-in Spring Reverb. The Blue Marvin was sequenced by one of my Qu-Bit Bloom Sequencers running in the minor key. The master clock for everything was the ALM Pamela's New Workout, and it was clocking the CMS, Blue Marvin, 2x Qu-Bit Bloom, Qu-Bit Chance, Moog Subharmonicon (which was doing all the background pads), and Mutable Instruments Rings. There were various other sequenced sounds, including Mutable Instruments Plaits as a 32-step arpeggio in minor, as well as Mutable Instruments Rings, going through Clouds as a textured effect. Cwejman VCO-2RM was running through Qu-Bit Tone's LPF, and directly out as a very low analog sub. The E340 Cloud Generator was my analog Wavetable synth, which I played directly on the Arturia Keystep MIDI-Controller, by sending it pitch information only, and running it through MI Ripples, and out. The Instruo Arbhar was running in stereo mode, and that one was doing all of the tapping and scratching noises in left and right channels. It has a built-in condenser mic, so I was tapping it on the spot to fill up some space in transitions for some ASMR effects haha. That's pretty much it in terms of gear used. If you have any questions about anything, please don't hesitate to ask in the comments. I will happily answer.
And thank you to Dr.B for being an amazing professor, and leading me through the last stretch of my EPD Journey, as well as opening new doors for me for the future. - Here are some links of mine: https://linktr.ee/pgarbaczonek - Go follow my Patreon here: https://www.patreon.com/pgarbaczonek?..."
Its been far too long... Made this a few months ago (Ive added some modules since then) I will be moving my studio this month. You will see new videos in September. Enjoy.
If you haven't yet ,join the mailing list @https://www.cablesforclouds.com
Leave a comment and let me know whats up :)
✶ Gear Used ✶
► Sequencers: Winter Modular Eloquencer Make Noise Pressure Points + Brains Malekko Voltage Block
"We present PaSSBot, a unique stochastic filterbank plug-in by sonicLab. We go through its basic functionality including the different filter types and generators, including the probabilistic generator types. We show how these can be used to build up complex ever-modulating bank of filters.
00:35 Basic Interface
01:14 Exploring a single filter
02:56 Multiple filters
03:28 The Generators
07:20 A resonator filterbank with harmonic distribution
09:30 Tuning scales
10:40 Factory presets
'PaSSBot is a unique stochastic filter bank plugin. a cloud of filters with complex modulation capabilities driving up to 64 unique parallel instances...The user can set values of center frequency, gain and resonance of the each filter, which will be then eloborated with powerful stochastic generators ( 4 independent GENs ) with continuous or discrete probabilistic distributions but also with standard waveforms.'
"I'm actually starting to love the OP-1's synth engines. Here's a track featuring a few custom patches I created with the Dr. Wave, Pulse, Strings, and Digital engines.
I also took the whole sampling-the-radio for a spin. The vocal you're hearing comes from a song I happened to capture from the OP-1 radio. I chopped it and used the arpeggiator to create some interesting rhythmic patterns.
Speaking about the arpeggiator. It's surprisingly versatile! I like to experiment with arpeggiated drum patches, and come up with unexpected percussive patterns to layer on top of my programmed beat. The OP-1 will only use the sounds you're playing on the keyboard, and actually pitch shift them to follow the selected arpeggiator mode. Pretty neat!
There's quite a lot of mixing work done behind the scenes in Logic Pro: I came up with a template that makes it very easy to arrange and mix the loops I create on the OP-1. I hope this will push me to create more songs with this setup: it's kind of the best of both worlds, the OP-1 as a portable idea generator machine, and Logic Pro on my computer for the arrangement and mixing part.
"I did not want to unpatch this but after 3 months trying to fine tune this song recording it multiply times, i realized this try was as close as I will get...in other words, just had to move on. This took me some time, feel free to share.
"This is a leftover synth jam recorded on 09.22.2020 I sent Tides into 3 filters, Plaits, Rings, Elements and a delay. I fed the reverb into a VCA/ envelope (which ends up sounding like a wall of white noise)
"All of this is played and performed in realtime with no edits at all.
I am back again for Part 2 - looking at the #Percussa #SSP #eurorack module. This time - Oscillator voices and MIDI Clocking.
The SSP is Possibly the most comprehensive workhorse in the eurorack modular world. The module provides many possibilities from sampling, granular processing, polyphonic and monophonic playback, effects and much much more. This is part one of a series of videos in which I break down the module and what it can do.
Included DSP Modules
Build your own patches on the SSP using the following DSP modules that come with the SSP:
"Modular Synth Patching Live (COME PATCH WITH ME 11)
///THIS IS A LIVE STREAM///
All of this is played and performed in realtime with no edits at all.
Today I am looking at the #Percussa #SSP #eurorack module. Possibly the most comprehensive workhorse in the eurorack modular world. The module provides many possibilities from sampling, granular processing, polyphonic and monophonic playback, effects and much much more. This is part one of a series of videos in which I break down the module and what it can do.
Included DSP Modules
Build your own patches on the SSP using the following DSP modules that come with the SSP:
• Wavetable Oscillator with true 3D morphing (XYZ) and cloud features
• Sampler with Layering features
• LFO with multiple waveforms (sine, saw, square, triangle)
• Variable Frequency Noise
• DC generator
• Enveloped Generator with Exponential A and DR
• Waveshaper
• Comb Filter
• State Variable Filter
• Step Sequencer
• Granular processor with live input
• Sampler module (with separate parameters and modulation inputs for the 8 slots )
• Simple delay
• Bit crusher
• Physical modeling membrane
• Arpeggiator
• Envelope Follower
• Bus module
• Develop/load your own VST plugins (compiled for Linux/Arm)
• Switcher Module
• Reverb and Delay
• Macro Module"
This is a lots-of-DSP board. Most of the things on this Experiment board are a shell for DSP. We have developed a plugin board with sufficient processing power and memory to drive all the things. Currently, we have one of these MCU-boards working and connected to Experiment board no 3.
FR3TZ is a self sequenced instrument which offers to play chromatically a full set of guitar harmonics samples, with the power of granular synthesis and a suite of 6 effects. The 3 track-mono-step sequencer can be programmed in a similar way as an Euclidean rhythm generator.
FR3TZ is an unconventional piece of instrument for creating generative patterns both melodical and rhythmical, the whole being encapsulated inside a modern user interface, inspired by « Material Design », which reinforces the user experience. This instrument can produce amazing mechanical or non linear melodic patterns but also percussive beats and generative soundscapes. 177 snapshots have been crafted to illustrate the kind of unstable loops and unusual phrases that can be created with it.
FR3TZ also explores the random concept again, in order to provide some humanized effects on your note patterns. The sequencer is coupled with a note selector (a 1 octave virtual keyboard. This selector allows to choose which sound of the map will be aleatory launched on any incoming gate events.
Travel over the waveform with the mouse to obtain glitchy effects.. Combine the 6 effects (Pitchshifter, Filter, Distortion, Delay, Chorus, Reverb) in order to sculpt the shapes of your tones.. Inject some crazy movement on the master mix with Binaural/Doppler effect... This extensive set of features combined between each other, provides a unique recipe for designing sounds.
FR3TZ, even more than a sound bank or a virtual instrument, is a real physical sonic palette. You will discover how surprising it can be to use string harmonics as an oscillation source, transform them as an atonal percussive element. Thanks to granular synthesis, experiment how to sound big with the infinitely small.
THE CONCEPT
String harmonics have a particular sound rendering and easily provide one of the most mysterious and subtle sonic mental images when they are punctually used in a guitarist performance. Obtained with a slight pressure on the strings with the tip of the finger raised above the frets, the harmonics deliver one of the most fascinating sounds that can be extracted from a guitar.
"Multitrack ambient recording featuring Makenoise 0-Coast analogue synth. It’s been raining here in LA and I think it’s the absent sound on all of my tracks. I sometimes add washes of noise or tones to the background, so this time decided to add a recording of the rain that I made late one night.
In the rain, find your path.
On this track the synthesis goes a bit more macro from the micro. I built up a patch on the 0-coast that allowed me to have a lot of flexibility to the harmonic content of the output. I think the o-Coast excels at this so I wanted to explore that more specifically. There is quite a bit of modulation going on, but the synth is self-patched.
Published on Dec 23, 2017
Performed using the Synthesis Technology E370 Quad Morphing VCO, played as a 4-voice synthesizer using MPE controlled by a Roli Rise 49. This was recorded live, no filtering of the E370, with a phaser, convolution reverb and delay in post processing. The only sound generator is the E370.
The 4 voices of the 370 are identical, in 4-voice cloud + morph mode. The MIDI signals from the Rise are converted into control voltages using an Encore Expressionist (8 CVs + 4 gates) and the CV Toolkit software (6 CVs) for a total of 14 CVs and 4 gates.
Each of the 4 voices has 3 independent CVs controlling pitch, volume from MIDI velocity, and cloud spread from the Roli Rise glide (finger position from the front and back). One additional CV controlling overall volume is controlled by an expression pedal, and the last CV from a slider on the Rise controls the morph waveform, which is the same for all 4 voices. In addition the waveform is morphed around the value set by the slider by a slow LFO triangle wave. The note dynamics are controlled by 4 ADSR envelopes triggered by the 4 gates."
