RYK ALGO Demo - eurorack Complex Oscillator module
video upload by RYK Modular
User videos below.
"All knobs and no menus, an FM synth engine with hands-on control
Introducing ALGO, from RYK Modular
ALGO's four oscillators can be configured in series or parallel combinations, to create Complex FM or additive sound textures. A unique Algorithm Display indicates the signal flow from one oscillator to another - easy to understand FM with pretty twinkly lights !
CHAPTERS:
00:00 -- ALGO !
00:04 – The Algorithms of ALGO
00:11 – Drone with FM and Global Detune
00:36 – M185 Sequencing ALGO. Tweaking the Harmonic Frequency of the oscillators for various levels of wildness !
01:16 – Drone demo showcasing built in Chorus effect
01:53 – Dual ALGO Dub action. RHS playing the chords with various tweaks to the amount of cross-mod and harmonics. LHS used for the bassline. Sequenced by split seq on M185, 3xFEG envelopes modulating the internal VCAs of the ALGOs
02:45 – String/Pad chord setup on ALGO. Batumi modulating Wave Warp. Gliss used for modulating cross modulation amount
03:17 – Dual ALGO Pam's sequence. Pam sequencing pitch and harmonic offsets on RHS ALGO, also slower melody notes from LHS ALGO. 3xFEG envelopes modulating the internal VCAs of the ALGOs
04:14 – Conclusion Drone !!"
"ALGO's four oscillators can be configured in series or parallel combinations, to create Complex FM or additive sound textures.
A unique Algorithm Display indicates the signal flow from one oscillator to another - easy to understand FM with pretty twinkly lights !
Each oscillator has controls for Level and Frequency, allowing easy adjustment of FM timbres, no menu diving snorkels needed.
Modulation inputs for Frequency or Level for each oscillator - patch in a couple of Envelopes, and you have an instant FM synth voice.
Bored of Sine waves ? A generous Wave Warp control bends things through Triangle to Pulse wave and back again. Wave Warp can be applied to Carrier, Modulator or both types of oscillator.
For the more discerning mangler, Wave Folding is also available in three delicious flavours; Symmetric, Asymmetric and Soft Clip !
A Global Detune spread control with CV input is great for creating Netflix apocalypse drones that descend into the abys.
Lastly an onboard Stereo Chorus can add a vivacious 1980's shimmer to all your FM creations.
Oh, nearly forgot. It's Stereo !"
FM synths can be easy and fun: RYK ALGO Eurorack Module Demo
"This is a demo of the RYK ALGO: A 4-oscillator stereo FM eurorack synth module with waveshaping and wavefolding, stereo chorus, and with a bunch of algorithms to interconnect the VCOs with. FM & PANEL EXPLANATION: 1:55 / SOUND DEMOS: 14:06 Onwards."
CHAPTERS 00:00 A taste of what's to come 00:43 What is this?! 01:55 Algo (and FM) Explained 14:06 Jams: Fast Footwork 17:35 Aphex Bass 19:35 Plinktown 20:44 Low n Slow 23:49 Woof! 25:18 The Righteous Chord 29:13 Hellscape Acid
"My first play with the RYK Algo FM module. Using an 8-step loop from the Oct Tone, a bit of delay from the Milky Way, some reverb and cassette saturation from the Chroma Console. I then foolishly threw in a VCO from the Batumi II through the Sqwk Dirty filter and sequenced from the meloDICER, all of which I'm using for the first time. I'm not sure it gels all the time, but I was having a lovely time exploring."
"We are delighted to announce the release of Digitakt II - Send yourself to another sampling dimension, weaving splinters of sound in stereo, ripped from the moment and brought to your fingertips for marvelous audio manipulation and beat arraying. Preserve or distort reality as you so desire with 16 tracks ready for stereo or mono samples, or MIDI. Choose from several swappable filters for each track and utilize a wide assortment of effects and modulation, pull on massive processing power, and enough memory for a lifetime of samples. And with further tasty features like a Euclidean sequence generator, an extended 128 step sequencer, kits, trig modes, an extensive sample library, and a modular workflow to play with, your sonic-montage sculpting potential will know no beat-making bounds.
Digitakt II is available to purchase from the Elektron website or from retailers carrying the Elektron range of products. Pricing on elektron.se is 999 USD/1049 EUR."
"Digitakt II offers endless drum collage with 16 audio tracks all ready for stereo or mono samples or MIDI, swappable filters, 3 LFOs per track, a 128-step sequencer, expanded memory and power, and so much more. Here, Risa T talks through a bunch of the awesome features on offer, and takes us all on some sweet sonic escapades."
Review: DIGITAKT II vs OG Digitakt // Everything new in Digitakt 2 // Detailed tutorial
"The new 2.2 update for the Elmyra 2 was recently released and it ticked off almost everything I had on my wish-list in terms of new features - so, that's nice! In this video, rather than just reading out the release notes, instead I decided to put together a patch which just happened to make use of all of the new features in the update - almost as if I planned it.
Transparency notice: the Elmyra2 was kindly provided to me by Neutral Labs for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.
Chapters: 00:00 Intro 00:00 Introduction 01:16 Magic numbers (and the need for cheatsheet) 02:31 Chord Mod Mode 05:09 Octave Shift 06:18 Sequencing some chords 09:55 Stepped/Smooth Random (S&H LFOs) 15:06 Signal Routing - Swapping the delay and filter order 17:47 Dual Filter Modes 22:55 New LFO Wavetables/Shapes 27:42 Complex Waves for LFO1 29:13 Patching some more because we can"
"Metaconformer is a modular MIDI processor designed to expand the capabilities of musical instruments and to simplify the interaction between a musician and their MIDI instruments. It offers new ways of playing music through innovative and groundbreaking MIDI message routing capabilities between multiple instruments.
The MIDI protocol is an efficient engineering solution used reliably for decades by musicians. However, in many situations it does not take into account the musical context, which is essential for the artist. Metaconformer changes this. Located between the MIDI controller and your instruments, it coordinates human ideas with the language of hardware.
Metaconformer’s capabilities provide new ways of playing instruments, by combining MIDI instruments and exploring their interaction . You will be able to play multiple instruments at the same time as if they were part of one larger instrument. Metaconformer also opens up the possibility of sound control through pressing the keys on your MIDI keyboard, instead of having to reach for the knobs on your gear. This will allow you to discover and unlock new facets and possibilities of your favorite instruments!
The idea behind the Metaconformer is to give musicians a new way of looking at their instruments and what else they can do with a little creativity in MIDI.
SOMA is closely related to the idea of organismic synthesizers . Each of our instruments aims to give the musician the experience of interacting with a system in which several independent modules can influence each other and create more than the sum of its parts.
Metaconformer is no exception. It breaks down at least two barriers that have stood in the way of all MIDI musicians for decades. It establishes a dialogue between different instruments, breaking the barrier of parallel universes of MIDI channels. And Metaconformer also allows you to enter the values of synthesis parameters not by turning knobs on your synths, but by pressing keys on your MIDI keyboard, breaking the barrier of the one- dimensional universe of notes and creating a multi-dimensional universe of parametric chords."
"I recently took delivery of a vintage Buchla Thunder—a MIDI controller I've been dorking out over for years. In this video, I'm exploring a tiny bit of what it can do when combined with an ASM Hydrasynth desktop module...in the form of a mostly noisy/textural improvisation. (Note—the laptop is there purely for the sake of recording. All sounds and effects are coming from the Hydrasynth.)
Released in ~1990, Thunder is bonkers. Like many of Buchla's prior instruments, it uses touch-sensitive plates as a way of interacting with electronic sound engines. There's no "default" setup...you have to program everything that it does from scratch. It can translate touch directly into MIDI notes, or your touches can be used to initiate/conditionally influence programmed strings of events. Keys can even be used to conditionally modify one another's behavior—it's very deep, and things can become complex quite quickly. That's much of its charm: it's very easy for simple interactions to unwind into complex, unexpected flurries of sound.
So it's quite powerful...but given that I've had it for only a short time, I'm still barely scratching the surface. That said, it's already proving to be super inspiring to play, and I'm excited to keep digging in from here."
"PWM is a huge part of everyday electronics, but it is also a classic synth sound, to the point it reached a cult (if not meme) status.
A Eurorack oscillator like BRENSO wouldn't have been completed without a PWM section, and today we're exploring it in detail. It might not be the most obvious feature, since it is nestled into the timbre modulation section, but it is capable of wild timbers.
00:00 Overview
02:36 What is a comparator and why it's important for pulse-width modulation?
03:36 The difference between BRENSO's square waves.
04:37 Modulating the comparator threshold to change the pulse width.
05:04 What are the harmonics of a pulse wave?
06:09 How to fake more oscillators through PWM.
07:15 Pulse wave symmetry and phase.
09:51 Feeding BRENSO's comparator with the triangle shaper
Pulse-Width Modulation and Sync with BRENSO | East Coast Sounds 1 | Frap Ideas
"A recent article on @PerfectCircuit’s blog inspired this exploration beyond the label of "West Coast" synthesis. We thus focused on two techniques for the BRENSO oscillator that go beyond the classic complex oscillator's palette: PWM and sync."
"Today's topic ties together notes, harmony, tuning, timbre, and even more. It's the overtones, and this is our introduction!"
00:00 Introduction
00:22 What is a note?
02:11 What are overtones?
04:06 Harmonic and inharmonic overtones
06:24 Electronic waveforms and overtones: triangle, square, sawtooth
09:42 Isolate waveform partials through CUNSA bandpass filters
12:56 Create a complex wave through harmonics in analog
15:04 From the harmonic series to the dominant chord: closing remarks
Playlist: (you can use the player controls to skip around)
1. Synthfest UK 23: Sequential - Trigon 6 Desktop
At SynthFest UK 2023, we had the opportunity to chat with Chris from Sequential, a part of the Focusrite group. Chris introduced us to the Trigon 6 Desktop, the latest addition to Sequential's synthesizer lineup. This compact desktop version of the Trigon 6 packs a powerful punch, offering three oscillators and a distinctive Dave Smith ladder filter. Designed for those seeking a space-saving solution without compromising on sound quality, the Trigon 6 Desktop retains all the features of its larger sibling, including patch recall, a versatile effects section with various modulation possibilities, and the distinctive feedback control that allows you to sculpt sub-harmonic richness.
At Synthfest UK 2023, we caught up with Calc from Sequential, and he gave us the lowdown on the Prophet X. Now, you might be thinking, Prophet X? Haven't we seen that before? Well, you're right, but this hybrid instrument has been quietly making waves in the music world. It combines digital and analog elements, with digital oscillators and a unique twist in the form of multi-sample-based instruments. Yes, you heard that right, it's not just your run-of-the-mill synth; it's a full-on sampler too, boasting an impressive 50 gigabytes of memory for your custom samples. You can treat it like a rompler, a sample player, or even use those samples as oscillators, creating a whole new realm of sonic possibilities.
Plus, it's packed with stereo goodness, allowing you to explore a wide soundstage with ease. It's not your typical synth, and that's what makes its a favourute of Calc's
"Another short session with the new TipTop Audio Art modules.
I was exploring the Poly Voice Management of the Octopus, the module that ‘conducts’ the three ART oscillators.
In the first part, the simple arpeggio played on the Arturia Keystep is reproduced in order by the first ATX1 (Midi channel 1), the second ATX1 (Midi channel 2) and the Vortex (Midi channel 3). It is easy to follow the change by looking at the red LED that lights up on the modules or the ADSR that is activated on the O/C in the case of the first two oscillators. Things get interesting when you manually switch from Mono 8 mode (one midi channel for each oscillator) to Poly 3, Poly 4, etc. These modes are designed to use oscillators in polyphony, playing chords as you do on a polyphonic synth. By sending a sequence instead, the notes are distributed one after the other among the different oscillators which, with different settings, create an ever-changing melody.
A very unique way to make a sequence more interesting I think.
P.s.
The drone you hear comes from the TX-6 while the delay is the White Rabbit by Error Instruments."
"In this jam, I'm exploring the Roland TR-6S' capability to sequence external instruments, in this case the MAM (Music And More) ADX-1, 5-voice analog drum module 🥁!
I used 4 tracks (white illuminated faders, labeled LT, HC, CH and OH) of the TR-6S to sequence 4 parts of the ADX-1 (named Synth, Snare, Hihat and Metal). I even used the "alternate instrument" sequencing feature of the TR-6S to sequence for example the closed/opened Hihat of the ADX-1 (i.e. sending 2 different notes to only one part of the ADX-1) 😃
At first I only wanted to use the TR-6S as a sequencer (not its internal sounds), however I ended up using on Track 1 its "CR-78" kick, on Track 2 its new "808 Chromatic Bass", and also layering the parts played by the ADX-1 with sounds from the TR-6S (4 last tracks). Fun fact: I didn't use any samples here 😉 All the sounds coming from the TR-6S are from the modeling ACB (Analog Circuit Behavior) engine!
To be able to change the bass pitches coming from the TR-6S, I used different "variations" of the pattern, with different tunings of the "808 Chromatic Bass".
It was not very easy to jam with the Sequential Take 5 synth and change the pattern's variations at the same time, but nonetheless still fun and challenging 😅
* Hardware used *
// PERCUSSIONS: - Music And More (MAM) ADX-1 (5-voice analog drum module) + Strymon Timeline (digital delay)
"Exploring the wonderful world of hocketing, using Disting EX's 'Chord Engine'. Recorded "live", adding only EQ + compression in Logic Pro.
Patch is described in the video. Just one clarification: as the sequencer spits out a new note every 2 bars, and the voices take it in turns to be the recipient of that new note, each voice changes note every 8 bars. As there are 7 notes in the sequence, this piece effectively repeats itself every 56 bars.
The piece excerpted in the first few seconds is “In saeculum breve,” a motet by an anonymous French composer, from the 13th-century manuscript, the Bamberg Codex. To avoid incurring the wrath of the copyright gods, I made my own version, inputting midi into Logic Pro and using brass instrument instead of voices, and adding convolution reverb with an impulse file recorded in a large church.
"Exploring the feature-packed granulator algorithm on the Disting EX, controlled via i2C by Tesseract Modular’s Sweet Sixteen faderbank. Thanks to Ed for supplying the Rachmaninoff piano sample. Detailed patch notes in the video.
W.A. Production introduces InstaComposer 2 as advanced AI MIDI Tool taking popular MIDI creation station plug-in predecessor to another level
PRAGUE, CZECH REPUBLIC: W.A. Production, producers crafting creative plug-ins to help anyone achieve studio-quality processing speedily and easily, is proud to introduce InstaComposer 2 as an advanced AI MIDI Tool taking its popular InstaComposer MIDI (Musical Instrument Digital Interface) creation station plug-in predecessor to another level — launching new features and improvements that enhance the user experience with more MIDI tracks, scenes, new scales, and new modes married with enhanced generative coding and superior performance to make practicable new ideas flow more quickly than ever before by producing a wide variety of musical elements, including melodies, phrases, riffs, and chord progressions to provide both beginners and professional musicians with endless possibilities for creating unique and engaging music in any genre or style while working with an intuitive interface and advanced algorithms allowing them to focus on the creative aspect of music production without having to think about composing every note — as of July 6…
Ever experienced those testing moments when creativity runs dry? Do not fear, for InstaComposer 2 is the ultimate musical muse. Indeed, infinite inspiration is at the creative core of the thinking behind making InstaComposer 2 what it is — an advanced MIDI generation plug-in designed to revolutionise music creation. By building upon the solid foundation of W.A. Production’s popular InstaComposer — itself released to widespread critical acclaim in its original incarnation in October 2021, InstaComposer 2 truly represents an even more attractive proposition, with exciting new features and improvements to enhance the user experience. Example highlights include an ability to organise ideas and song parts with eight new so-called ‘scenes’ — Scene 1 through to Scene 8 — that provide a convenient way to store different variations within a single preset; upgraded Scale support, with 22 additional scales ranging from Arabic and Spanish through to Miyako Bushi, Ryukyu, and more; a new virtual keyboard and highlighted chord menus to help with scale and chord selection; and melodies that can be generated in different modes and paired with unique chord progressions for each scale. Speaking of which, InstaComposer 2 adds two new-generation modes to its notable name — namely, Drums, enabling effortless generation of drum lines (supporting a wide variety of complexity levels, styles, and time signatures), and Pad 2, facilitating creation of a fuller, richer sound (by combining Pad and Chord modes). AI algorithms have been further improved for rhythm, phrase, and melody generation, conjuring more refined results, while new additions like the Sustain parameter — provides control over the length of the notes that are going to be generated — and a Chord Helper — highlights the notes for the selected chord on the virtual keyboard — help take things to another level entirely.
Each new starting point for InstaComposer 2 generates a unique result to ensure that users never run out of fresh ideas and possibilities for their compositions, ultimately. Unlike random note generation, InstaComposer 2 employs meticulously crafted algorithms and databases to produce musical ideas. Indeed, it constructs rhythmic and melodic structures that sound correct by mimicking human creativity — selecting notes that fit the given scale and context, and creating cohesive phrases that complement underlying chords. Clearly, InstaComposer 2 ‘understands’ the human brain’s affinity for pattern recognition. After all, AI (Artificial Intelligence) is involved in making InstaComposer 2 do what it does — different shapes and formats are used to build captivating combinations of beats and bars, adding rhythmic and melodic consistency often found in chart-topping music. Moreover, by using smaller musical chunks that repeat or occur in various forms throughout the melody, InstaComposer 2 builds larger blocks, creating a sense of unity throughout its user’s music-making interactions. It even harmonises notes to enrich the sonics (depending on selected mode and settings), resulting in a more cohesive composition as it aligns melody to chords. Adjustable AI controls — Generate Chords generates harmonious sequences of chords inspired by the most commonly used chord progressions, for instance — and a convenient Chaos control — ensures everything remains under control by preventing unwanted chaotic situations such as notes repeating excessively, jumping erratically, or climbing too far in one direction — mean that users can comfortably remain in charge of how InstaComposer 2 develops ideas (and how far it strays from any set rules), while fine-tuning of chord complexity, note population, beat and bar structuring, pattern generation, harmonisation, velocity randomisation, and more are always available.
As an advanced AI MIDI Tool, InstaComposer 2 includes complex algorithms for generating Melody (generates a wide variety of melodies and phrases), Riff (similar to Melody, but with shorter phrases, more repeating patterns, and more restricted structures), Ostinato (generates short melodic phrases that keep repeating, often ignoring chord changes underneath), Rhythm (generates more harmonies, focusing on rhythmic patterns and chord notes), Bass (generates bass lines that compliment chords and melodies being played), Chord (focuses on the chord notes with options to inverse chords and add bass notes), and Pad (emphasises longer notes often focusing on harmonies based on underlying chords). Creatively exploring the potential of these modes means users are always uncovering unique and compelling music. Moreover, with those eight scenes available alongside six tracks — Track 1 through to Track 6, InstaComposer 2 offers flexibility and organisation for multiple layers, alternative variations, and different song parts within a single preset.
Put it this way: with a user-friendly piano-roll interface at their fingertips, users can effortlessly manoeuvre, duplicate, and remove notes, and even change velocity to effectively breathe life into their riffs, while the onboard MIDI editor can be used to tweak the output of InstaComposer 2, meaning music can be manipulated before it even leaves the plug-in. Personalised style and creativity can be easily added to the AI-generated phrases, in other words.
Modifying MIDI playback directly within the InstaComposer 2 interface itself is also on offer — simply save the output as a MIDI file or conveniently drag and drop it into a DAW (Digital Audio Workstation). It is also worth noting here that each track can be saved separately. Setting up multi-channel instruments as an alternative workflow also allows for routing MIDI from InstaComposer 2 into virtual instruments to preview all six tracks simultaneously — and all without ever having to leave the plug-in environment.
It is fair to say, then, that by taking its popular plug-in predecessor to another level as InstaComposer 2, W.A. Production has surely succeeded in creating the only MIDI creation station anyone could conceivably wish for... today, tomorrow, and into the foreseeable future!
InstaComposer 2 is available to purchase at an attractive 70%-discounted introductory promo price of $32.70 USD until August 17, 2023 — rising thereafter to its regular price of $109.00 USD — as a 64-bit AU-, VST-, and VST3-compatible plug-in for macOS (10.15 or later) and 32- or 64-bit VST-, and VST3-compatible plug-in for Windows (8 or later), as well as an AAX-compatible plug-in for Pro Tools (11 or higher), directly from W.A. Production via its dedicated webpage, which also includes some superb audio previews, here: https://www.waproduction.com/plugins/view/instacomposer-2
Owners of the original InstaComposer can upgrade to InstaComposer 2 for only $10.00 USD.
14-day, fully-functional trial versions of all W.A. Production plug-ins — including InstaComposer 2 — are available by signing up for an account for free from here: https://www.waproduction.com/users/login
"Demo of the Synth Controller Edition "AS1" for the Pioneer Toraiz AS-1. Finally you have quick realtime access to all parameters of synth engine, arpeggiator and FX section. The demo shows editing on all three color layers (red: Oscillators, green: Filter & Envelopes, blue: LFO and FX) with and without background rhythms. Most probably this video only makes sense if you are already familiar with the AS-1 and want to see the concept and behaviour of the Controller. The AS-1 behaves very well when being edited remotely, no hanging notes, no lags, only Chorus rate causes some jittering. For details you can check out the manual's addendum PDF in the Stereoping Shop's Synth Controller Downloads section.0:33 red layer - editing oscillators with their modulation routing switches. Explaing how to access SHIFT parameters. Playing with polymod of OSC2 on OSC1. Switching to LFO-PWM3:16 - taking a look on SLOP3:49 green layer - playing with filters and envelopes, LFO on cutoff, Glide6:10 - exploring impact of OSC levels on self ringing VCF6:32 blue layer - realtime FX tweaking, adjusting BBD sync9:42 arpeggiator session where FL Studio sends chord into the AS-1 which are arpeggiated by the AS-1."
The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered “a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards.”
"A one-take jam with the Novation Summit in split mode.
Whipping something quick with a latched arp on part B and messing around with notes on part A. There may need to be a longer part 2 as there's some fun to be had with the onboard effects and mod matrix. Despite just scratching the surface, I love how easy and quick it is to drum up great sounds on this synth.
As always, the goal with multiple synths on this channel is to see how each instrument sounds with the other and to improve my key and programming chops. With that in mind... there is minimal processing of these sounds. There's no compression or EQ on this piece."
"OK! Here we go, this is my first try with the Morphagene, I was very excited to finally receive this module, which has been on my wish list for quite a while, so look out for plenty of Morphagene exploration coming soon. I started with a nice loop from Rangoon on the Lubadh and proceeded to explore and figure out how the Morphagene works, and you can come along with me for the journey! This was my first Reel, although I think after filming this I realised I’d made a new reel and still had an empty first reel, but hey, I’m still learning and exploring how this module works! My goal was to create some nice ambient soundscapes from a relatively simple melodic loop, and I think I accomplished that, what do you think? Of course the Morphagene was helped along my Mimeophon and Beads, some of my favourite ambient making modules! Anyway, sit back & enjoy! MM.
Patch Notes:
Audio: Loop from Big T Music Rangoon on the @instruo Lubadh
Main Voice: @MAKEN0ISEMUSIC Morphagene
Audio Processing & FX: Mutable Instruments Beads & Make Noise Mimeophon
Modulation: ALM Pam’s New Workout & @DivKid Ochd"
"The Arithmophone is a new tool for exploring musical intervals from your computer, tablet or phone. It is a musical keyboard for touchscreen devices, you can play it directly from your browser using the built-in sounds or connect it to other instruments via MIDI.
"The Arithmophone is a new kind of musical keyboard, a rethinking of the way we interact with electronic music instruments. It provides easy access to many familiar and unfamiliar notes in colourful two-dimensional layouts and is a tool for exploring different kinds of tuning schemes, both just and tempered.
It currently exists in two forms:
The Arithmophone web app is a self-contained instrument that you can play from your computer, tablet or phone. It works best on touchscreen devices in landscape orientation (try an iPad or something of similar size if possible: the bigger the screen, the easier it is to play the keyboards).
The Arithmophone MIDI is a keyboard interface for controlling synthesizers. If you work with a DAW and software instruments, or if you have a hardware synthesizer you’d like to control through your (touchscreen) computer, this might be interesting for you.
Future ambitions for the Arithmophone project include a native iPad app with MIDI output as well as a hardware prototype.
I’ve made a manual that provides more details about the Arithmophone. I’ve also made an interactive guide to the building blocks of melody and harmony that explains some of the basic principles behind the Arithmophone in an accessible way."
"A more realistic flute patch than you'll find on classic vintage synths, showing how it's possible to attain a more convincing recreation of an acoustic sound with modular synths, and without the need for samples or digital modules. A truly realistic flute is too much of a tall order - a greater amount of modules, and a more complex controller, would no doubt get you nearer, but here is a more modest way of achieving a reasonable, and nice-sounding impersonation. Some of the early self-contained synths of the 1970's tried to make useable impersonations of 'real', acoustic or familiar instruments using easily-selectable presets with a very simple voice architecture. Some sounded better than others, but whilst they were often sonically appealing in their own right, they were seldom anywhere near realistic. Among the more famous were the ARP Pro Soloist, Roland SH1000/SH2000, and the Korg 700/700S - all of which very characterful and unique instruments, with their own strengths, and much loved to this day. This patch is a nod to those classic synths, but also exploring what is possible now with modest amount of purely analogue Eurorack modules. Patch sheet with notes below.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
Video by @DreamsOfWires
Patch Sheet: https://kvisit.com/8AE/kYAH NOTES _______ Green dots show approximate pot and switch positions. 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. Multiple cables may branch from one output to different destinations, so here a multiple should be used. This patch needs a lot of fine-tuning, so precise pot positions cannot possibly be illustrated, but this should serve as a starting point, from where further experimentation should be applied. The video tries to explain what is happening with the core modules, which should make it easier to understand what needs fine-tuning. KEYBOARD: Here the controller's MOD output is used to send Aftertouch, but alternatively Velocity, or direct control from the MOD wheel/strip could be sent to the Dual LFO's CV input instead, depending on your controller and personal preference. In the video I also used the Glide module as 'slew' to soften the harsh changes in aftertouch CV from this particular controller, which may not be needed on others. TAP TEMPO LFO: Because the base tempo is selectable by tap, the rate of the LFO will have to be set by ear. VCO: If you don't wish to use the envelope to affect PWM, then PWM SHAPE will need to be set just below -1 - the envelope makes a subtle difference here, changing the shape of the VCO's sound slightly. NEXT PHASE: This is optional, as the noise is heard subtly in this patch, and only becomes more apparent when the AUDIO MIX of the Gemini is in favour of VCF1 (noise) rather than VCF2 (VCO), but to my ears it makes the sound of the noise more similar (see video description). GEMINI 2412: I'm using the 'high resonance' setting on VCF1. which is set by the rear jumper, or optionally using the Gain Switch (see User Guide video or manual on the website. Without it the resonance will need to be set to maximum, but still might not be quite enough. Modules used from top-left to bottom-right: Glide + Noise, Vintage Transistor Core VCO, Contour Generators, V-Scale, Tap Tempo VC-LFO, Next Phase, Gemini 2412, Discrete Cascaded VCA.
Description via Buchla. See the dealers on the right for availability.
"The third iteration of one of the most used touch interfaces, the 218, as the LEM218v3: The 218e version3 Lunar Excursion Module. The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it’s been updated with a new foundation of stable, modern electronics and plenty of inputs and outputs to integrate with your Buchla, MIDI, and Eurorack gear.
MIDI Polyphony, Velocity & More!
More than just MIDI compatible, the LEM 218 v3 gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel. Send the LEM some MIDI, and it gets converted to voltages and gates for eurorack and Buchla control.
Capacitive Magic
The incredible sensitivity and accuracy of the redesigned touch bed means the lightest touch will produce triggers and control voltage for your setup. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the LEM218 a uniquely expressive controller for all your synthesizers. The configurable touchstrip adds a fantastic addition for pitch bend or as an additional modulator to patch into your system
Get More For Your Euro
Even if you don’t have any Buchla products, the LEM 218 v3 is designed to work with your Eurorack-compatible gear. Four 3.5mm jacks output 1v/octave pitch, 0-8 volts pressure, touchstrip voltage, and gate outputs for use with Eurorack equipment. Or, combine your Euro with your Buchla instruments. If NATO can do it, so can you. The sound design possibilities will blow your mind
Arpeggiate
A pulse input allows the arpeggiator to be driven by external inputs and are allowed to interact with the automated notes to make the pattern more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising
Control
The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control
Set It Up Your Way
Such a unique device will spark many ideas. With easy front panel configuration, you can quickly customize the velocity and pressure sensitivity, MIDI channel, knob behavior, and more. No cumbersome software setups, just simple settings with the keys and knobs, and you’re ready to play."
"A quick improv with the Osmose preset - Duocello. I cranked the onboard reverb mix up to ~80%.
The initial key press technique of placing fingers into the centre of it's tone is something I've learnt (and still learning...) from playing the Osmose for a few hours now. The very gentle touches that can render sound are wonderful.
The audio dynamics range a lot, but hopefully YouTube won't compress too much.
Recorded directly into Logic using Behringer U-Phoria UMC1820. All effects and eq are onboard the Osmose itself.
Music sketch: 'Cell sketch'
Performance, recording, video, and composition by Chris Beard @exploring-notes
💙💙💙 📼📻✨"
Osmose synthesizer, Expressive E - familiarisation and exploration. Haken EaganMatrix strings.
video upload by
"The Osmose keyboard arrived today and I recorded an initial experimentation with a pad preset and bending of chords and notes. There was a three year wait while the keyboard was developed. Development history can be found here - https://expressivee.happyfox.com/kb/a...
I've only played it for a couple of hours but already I can tell that playing the keyboard can be extremely nuanced. Flicking through the presets was more than just listening as I played... each preset asks to be pushed into, pushed sideways and explored.
Three parts only:
Pad - Osmose preset Hybrid Strings 2, recorded directly into Logic
Guitar - Fender SQ Contemporary Jaguar HH played through Chase Bliss Generation Loss Mk2 Lo-fi pedal
Drums - Logic drummer played through Devious Machines Infiltrator
Mastering preset added to the mix bus.
Music sketch: 'Sad interconnection'.
Performance, recording, video, and composition by Chris Beard @exploring-notes
💙💙💙 📼📻✨"
