Bastl Introduces Neo Trinity - 6-Channel Compact Modulation Hub

video uploads by Bastl Instruments

"Neo Trinity is a 6-channel compact modulation hub with great musical complexity achievable with simple gestures. Each of the 6 channels can be either LFO, envelope generator, or a CV knob recorder, while their main parameter can be automated with the REC button.

Each channel also features a recordable trigger generator with an algorithmic fill feature to get the inspiration started or to make things polymetric and keep your patches ever-changing. Use the SHIFT button to change modulation shapes and sync selected or all channels to an internal or external clock.

Neo Trinity has been designed with performance in mind, so it includes channel mutes and allows storing whole presets as banks.

While the core mechanics of the module are very straightforward, the inclusion of assignable CV inputs exponentially increases the complexity of the module’s behavior. Control some or all channels in different ways with the META IN and utilize channels’ E and F dedicated inputs. The inputs can control the main parameter in a positive or inverted way, control the output amplitude, and act as an external trigger or a trigger for the internal Sample & Hold function. The CV knob recorder mode also acts as a quantizer, and when combined with the CV inputs, it turns into a handy voltage processor."


See the dealers on the right for availability.

User videos:

Bastl Neo Trinity - A Modulation Mastermind?

video upload by Oscillator Sink

"Neo Trinity from Bastl is a module for generating control Voltage - which is the most generic description of a module I've ever made, but that's because it's a very flexible module which makes it hard to describe in a single sentence. It caters to your envelope, LFO, offset generation needs, but that's mixed in with a very “jammable” approach to sequencing and automation, that welcomes rapid iteration on a performance.

In this video my plan is to introduce Neo Trinity to you from an architectural standpoint, then try to give you a feel for its workflow by building up a patch through a few layers of complexity, while mixing in a few extra examples of patches I've been playing with as I've been exploring it.

Transparency notice: this video is sponsored by Bastl - thanks to them for supporting the channel.

Chapters
00:00 Introduction
01:07 Overview of Architecture
03:15 Building A Patch Part 1 - Basic Monosynth Modulation
03:48 BAP pt. 1 - Setting up an envelope
06:18 BAP pt. 1 - Using "Meta" to trigger the envelope
07:37 BAP pt. 1 - Setting up a second envelope (copy + paste)
08:50 BAP pt. 1 - Adding a "hold" section to the envelope
10:05 BAP pt. 1 - Adding a scalable LFO for PWM
13:31 Minipatch - Evolving Drone LFOs
16:09 Minipatch - Self-playing VCO
19:27 Building a Patch Pt2. Sequencing and automation
19:54 BAP pt. 2 - Trigger Automation
20:59 BAP pt. 2 - Rate Automation
21:34 BAP pt. 2 - Automation Length (polymeter)
22:17 BAP pt. 2 - Pitch Sequencing (and Quantization)
26:01 Minipatch - Auto Chord Generator
28:13 Minipatch - Audio Processor
31:40 Build A Patch Part 3 - Algorithmic Beats"

Bastl Neo Trinity : Tutorial & Walkthrough

video upload by soffter

00:00 - intro
2:42 - module overview

MODES
17:49 - lfo mode
26:26 - lfo wigglin’
27:00 - Envelope Mode
38:25 - CV Mode
48:55 - Meta Mode

PATCHES
1:02:00 - Patches #1 (total chaos)
1:07:22 - Patches #2 (keyboard fun)
1:14:35 - Patches #3 (audio reactive)
1:21:07 - outro feat Mr Mako

What is The Vanilla Synthesizer? It's Ready, That's What

via the STG Soundlabs/muSonics Electronic Newsletter:

Is it The Vanilla Synthesizer or the muSonics TVS?

I started working on this project a year and a half ago.

Originally my thought process was to make a new American format synthesiser that could be sold as modules, kits, and bare boards. I was concerned about the future of the format, and I felt a new line of basic modules and infrastructure at a variety of price points was important. I still do.

STG Soundlabs was a failure because I made things that ultimately the eurorack market simply did not want. Yes, I sold some, and will continue to maintain the line as best as I can, but it's very hard to find photos of eurorack installations with STG Soundlabs modules in them, but rare to find a nice big man-sized synthesiser without my modules in it.

Another thing I wanted to do was teach myself how to do my own engineering. It didn't start that way, but it became that way. I'd been a hardware product developer since 2005 but never actually laid out a circuit board. That is no longer true, and I've done things beyond this project that I haven't even talked about.

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Threetom Doppio is now officially available! 🥳

video upload by Threetom Modular

Threetom Modular DOPPIO / clean amp, dirty drive and useful limiter / brief demo / first patches

video upload by BRiES

"DOPPIO by Threetom Modular is a stereo (or two channel) saturator/soft clipper that was designed to bring all the dirt where you want it but remain clean where you need it. You can use it to add huge amounts of noisefree gain to weak signals or to make a clean sound more saturated by using a selectable soft clipping circuit. The most useful feature and the one I will probably use most of the time is the soft clipping 'limit' setting, which gives the user the ability to set a safe master volume and bring in some saturation.

This video is not an extensive playthrough but rather a quick rundown of the features of this brand new Threetom Modular creation. There's a few patch examples in this video but I'm sure I'll make more uploads using DOPPIO when I run into things that benefit from a fresh caffeine shot. I'm confident this will be a great boost to my drumsection (pun intented)."

Doppio eurorack module demo w/ MS-22 & Mixing Flask

video upload by Stazma

"Today is about a new module by Threetom Modular, a dual pre-amplifier called Doppio, meant to bring the caffeine to your rack. I'll also use this occasion to show youa little bit about his main module, the MS-22 filter, but also about a nice utility mixer he has in the work, the Mixing Flask."

00:00 Intro
01:22 Doppio on eurorack level signals
08:45 Doppio on a drum machine w/ System80 880
11:09 Doppio as pre-amp for line level instruments w/ Roland JX3P
14:33 End talk

Playdate and Teenage Engineering TX-6

video upload by Luca Longobardi

"It's strange, isn't it?' the woman said in a pensive voice. 'Everything is blowing up around us, but there are still those who care about a broken lock, and others who are dutiful enough to try to fix it... But maybe that's the way it should be. Maybe working on the little things as dutifully and honestly as we can is how we stay sane when the world is falling apart.
(Haruki Murakami, Men without Women)

What I particularly love about these little instruments that I use to make music and that I show here is the feeling of being able to contain my world in the palm of my hand. And I consider this a superpower.

About this setup:
Playdate App Granular plays 5 different granular versions of a sample recorded with my piano through its on board mic, TX-6 plays sine waves (I muted/unmuted them live) and add its reverb magic."

picoTracker - 8 tracks of audio and MIDI for under $50.

video upload by Floyd Steinberg

"picoTracker (https://github.com/democloid/picoTracker) is a new, lightweight 8 voice audio and midi tracker. Intro by @avrilcadabra ! (https://instagram.com/avrilcadabra , https://avrilcadabra.bandcamp.com) Table of contents:

00:00 intro tune
01:00 hi
01:38 unboxing
02:12 building
05:21 hardware overview
06:11 tutorial: creating a song and transfering samples
06:49 navigating the editors, key functions
07:23 song screen
07:38 chain screen
07:50 phrase screen
08:00 instrument screen, selecting samples
08:24 adding notes to a phrase
08:54 adding a second instrument
09:17 changing the instrument of a note
09:32 adding another instrument...
10:00 adjusting song tempo
10:35 important things to consider!
11:06 adding a bass track
12:19 listening to both tracks
12:34 creating a progression
13:23 using midi instruments (short demo)
15:26 verdict - a powerful box for small money, but ...
16:17 support the developers, please
16:25 conclusion

Resources:
picoTracker development story https://democloid.com/2023/04/20/pico...

HÄLP ZIS CHANNEL
https://www.patreon.com/floyd_steinberg
https://floydsteinberg.gumroad.com/
https://floydsteinberg.bandcamp.com/"

UVI Introduces HX-20 - Iconic Semi-Modular Soft Synth Based on the KORG MS-20

video uploads by UVI

Playlist:
UVI HX-20 | Trailer
UVI HX-20 | Preset Showcase
UVI HX-20 - Overview

"Introducing the new 'HX' series, HX-20 provides a powerful hybrid architecture combining 3 hardware-based wavetable and sample oscillators with physically-modeled filters to deliver a versatile and creative re-imagining of an esteemed classic."

via UVI

HX-20 is based on one of the most recognizable and well-loved analog monosynths around, known for its versatile semi-modular architecture, iconic front panel design, and starred musical history. Launched in the late '70s, this small two-oscillator monosynth has a lot to offer, and continues to be an inspirational studio compadre for artists around the world.

More Than The Sum
The success of this synth wasn't due to any single design consideration, instead it benefits from its combination of great features, fantastic sound, and compelling value. From the rich analog oscillators to its versatile filter section, to being both semi-modular - capable of integrating with external inputs and larger systems, to being relatively light and portable, there is simply a lot to love.

More Than The Sum
The success of this synth wasn't due to any single design consideration, instead it benefits from its combination of great features, fantastic sound, and compelling value. From the rich analog oscillators to its versatile filter section, to being both semi-modular - capable of integrating with external inputs and larger systems, to being relatively light and portable, there is simply a lot to love.

A Dynamic Duo
HX-20 is the debut release of UVI's new HX Series - leveraging our deep history in hardware sampling and physical modeling to create flexible, modern instruments with an unmistakable hardware soul, thanks in part to a novel hybrid approach combining hardware samples and wavetables, with physically-modeled filters. With its own unique hybrid sensibilities, we thought this was the perfect instrument to kick things off with.

Hybrid-X Engine
HX-20 is similar to many of our vintage instruments in that you get a deep sampling of the hardware, but it excels in two important ways; the addition of two new layers of hardware-based wavetables, and physically-modeled filters - giving you three sample layers in total to configure, all with the analog charm you know and love. Like our chosen hardware, this unique combination of features creates a powerful and compelling sonic tool with incredible character.

Hardware Sound, Exemplified
The new sample-based wavetable oscillators in HX-20 give you entirely new dimensions with which to explore. Capturing the hardware in its full range, you have greater flexibility and nuance over the raw instrument sound than ever before. The best part, you still get our top-tier sample layers, with hand-crafted sounds lovingly designed here at UVI.

You can find additional details at https://www.uvi.net/hx-20

Who becomes silverware first? - 10 minute LFO filter sweep and semi-generative Eurorack jam

video upload by thesrabbit

"This sonic experiment was inspired by the Dreadbox Erebus LFO having a whopping 10-minute long cycle time. Therefore, I thought it might be fun to run that LFO into every single filter I have with a CV input, including big analog polys with a VCF control input on the back intended for expression pedals. The honorary VCFs include: 2x Roland System-500 521, G-Storm Electro SH-2 and SH-5, Dreadbox Erebus, Oberheim OB-X8 (OB-X SEM LP mode), Sequential/Oberheim OB-6, Roland Juno-6.

Interestingly the filters on the big polys don't open all the way. I assume this has something to do with the inputs being calibrated for expression pedals rather than Eurorack CV. According to my oscilloscope, the Erebus LFO range is -5v and +5v. This is pretty typical for Eurorack. I set the cutoff at about 50% for all the filter modules. This seemed to work perfectly. But I was not able to do that with the polys. With the cutoff at 50%, the filters would open up all the way, but they wouldn't close nearly enough. I had to bring the cutoff completely down, and as a result, the filters on the polys wouldn't open up all the way. I did alternate takes where I walked around and tried to smoothly nudge each one up in order to get the filters fully open, but that was a disaster. In retrospect, I could have set up a one-shot MIDI LFO to do this and triggered it once at the right moment, but I already had enough things to worry about.

One of my audio interfaces is dead or dying, and it keeps ruining takes and sometimes crashes Logic. I finally turned it off and went with my lone Focusrite Scarlett 8i6, which has always been solid. But now I had an extra synth without an input and I wanted to have the polys on their own tracks so that I could blend them in with the Eurorack stuff to taste. And there's no possible way I could overdub since the whole point is to have one LFO sweeping all of the filters at the same time. I ended up resorting to an old 1989 JVC cassette deck to record the OB-6. So that shot at the opening of the video is legit. There's such a big wall of sound here that it's impossible to tell if it ended up adding any saturation. It definitely added some hiss and crackles but that's fine in this context. The cassette itself is ancient, cheap consumer grade, 60 minutes per side. I ended up recording over some 90's black metal that had been there since, well, the 90's.

To add to the grit and grime, I intentionally ran the filters from the Eurorack straight into the audio interface, bypassing the typical flow through VCAs. Ok, fine, I totally forgot about the VCAs, but it sounded extra dirty, so I didn't stress out too much. I certainly wasn't going to power everything back on, tune everything up and do another take because of it.

Obviously when the filters are closed or nearly closed for several minutes, there needs to be something to fill that gap. That's where the generative stuff comes in. There's 3 different sample and hold circuits feeding different things, including back into themselves in one case. Some voltage is running through different logic gates in conjunction with other, steady LFOs. Since I'm out of filters, the sound consists of pink noise through a VCA, triggered at random by a very short decay envelope. This runs into a recovery tape delay module, that gives sort of a slapback effect.Then there's a single oscillator, pitch controlled by another S/H circuit run through a quantizer and then running into the spring reverb tank. It's also triggered by the same random voltages triggering the noise hits. Then there's the Mutable Instruments Plaits, making the plinky plonky sounds, again everything triggered at random. It's running into the majestic Calsynth Typhoon.

The last thing to note is that the Erebus LFO also acts like an automated fader to increase and decrease the level of the VCA where all the rhythmic sounds are running through. I simply inverted the signal of the LFO output to do this. As the filters open up, the VCA level diminishes. When the filters fully close, the VCA level increases to maximum.

Last last thing. That knob twisting near the beginning isn't for sci-fi FX, though that's an added bonus. I was simply trying to get the LFO back to its "starting position." I didn't quite succeed. I don't believe the Erebus has any sort of LFO triggering mechanism to help with this. All good though.

FX: Audiothingies DoctorA delay and reverb, Boss DM-101 delay

No post processing other than a 30Hz low cut and slight limiting on the master"

Polivoks FAEMI-M Soviet Vintage Analog Polyphonic Synthesizer

Note: Auction links are affiliate links for which the site may be compensated.
video upload by Universal Audio

via this auction

Note auction links are affiliate links. See the site's privacy policy for more info.

Update: The listing has the FAEMI-M as being from 1968. It seemed a little early to me so I checked my copy of Peter Forest's The A-Z of Analogue Synthesisers. It's listed but without a production date. Right before the entry for the FAEMI-M is the FAEMI children's keyboard which was released in 1972. I then checked http://www.ruskeys.net, but no date is given either. Previous posts refer to the FAEMI-M being from the 1970s. Sound on Sound's article on the Polivoks mentions the FAEMI-M but w/o a date. If anyone defininitively knows, feel free to leave a comment. A couple of interesting comments from that Sound on Sound article:

"The Polivoks is a duophonic synthesizer designed by Vladimir Kuzmin, an electronics engineer who had been the bass player and sound engineer in his student band. Having graduated in 1976, he was inspired to apply for work at the Urals Vector Company by the inventor of the FAEMI, the first commercially successful Russian electronic keyboard. That man was Vladimir Lugovetz, the Director of the bureau that controlled development of electronic instruments at the Vector company, and the father of Kuzmin's future wife."

Followed by "Interviewed by Polish synthesizer enthusiast and supplier Maciej Polak, in 2003, Kuzmin explained: "My first task was to design the spring reverberator, but I also tried to improve the design of FAEMI‑M in order to obtain some modern effects such as portamento and filtering."

Auction details:

"So, the good news: All four oscillator generators are working; I have cleaned the potentiometers, and only one couldn't be fixed, and just one is slightly crackling on movement. I replaced the output jacks with the standard 1/4" jack.

Things I couldn't fix: The vibrato section is not working. Several keys are not working at all, and some of them work when pressed harder.

The external original power supply is unusual – it is combined with the scale pedal in one housing. The pedal works, but it also has a slight crackle on movement.

To see and understand the objective condition, I recorded a video. Please watch below, where I aim to show the specific condition of the device. Despite the problems, it is still alive, and I believe you can either repair, sample, or simply enjoy the time with such an old and unusual synthesizer, even in its current state. Of course, due to these reasons, I have also objectively reduced the price.

The package is fully loaded: synthesizer, original power supply/volume pedal, original 5-Din cable to connect the pedal to the synth, power cable for the power supply, original wooden hard case

Here is some official spoecifications:

Specifications:

Keyboard volume - 4 octaves.

Full sound range (all the registers are switched on) - from F in the controctave to E in the fifth octave.

Output voltage at the load of 100 kOhm - not less than 0.1 V.

Power supply:
-from an external DC source - 12 V +10\-20 %;

Power consumption from AC mains - not more than 15 W.

Current consumed from the battery of dry elements - 350 mA.

Overall dimensions - 610*280*110 mm.

Weight - not more than 10 kg."

CLICK FOR MORE »

Analogue Solutions Ample Synthesizer Now Available

Analogue Solutions Ample Synthesizer -- All Sounds Ample video upload by rezfilter

"Here's a little retro track I put together using only the Ample synth from Analogue Solutions. All parts were sequenced or played live from the Ample, utilizing the onboard Patternator sequencer throughout.

Ample begs to be touched, sequenced, pinned, and played. It's a culmination of all great things from AS."

Check with the dealers on the right for availability. Press release follows.

Analogue Solutions announces availability of Ample as ANALOGUE 3 VCO PATCH PIN SYNTHESISER blending best of past and present products

SHATTERFORD, UK: after a successful soft-launch at SynthFest 2023 in Sheffield, UK on October 7, British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Ample to a wider audience as a desktop-friendly ANALOGUE 3 VCO PATCH PIN SYNTHESISER — beautifully blending the best elements of several of its past and present products to form a truly analogue modular system skilfully presented as a precision- engineered electronic musical instrument in a spacious (550mm x 262mm x 83mm) steel and aluminium case that also embraces ergonomic features such as VESA mount compliance, should desktop space be at a premium, all of which adds up to being a perfect fit for its appropriate appellation — as of November 29…

Ample adheres to Analogue Solutions’ tried-and-tested no-compromise construction formula, featuring a full rugged steel and aluminium case — no plastic mouldings here; high-quality metal potentiometers with smooth action, fully sealed against dust intrusion; high-quality knobs with spun aluminium caps; high-quality double-sided circuit boards; high-quality 16-bit DAC (Digital-to-Analogue Convertor) for stable MIDI (Musical Instrument Digital Interface) to CV (Control Voltage) conversion; stable analogue oscillators; gold-plated touch plates; plus true retro analogue voice and modulation circuits to give an authentic retro sound. Since Analogue Solutions’ innovative instruments are applauded for proudly possessing a truly vintage sound — synthesisers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators), in other words, Ample is in good company as an ANALOGUE 3 VCO PATCH PIN SYNTHESISER.

But by beautifully blending the best elements of several past and present products — namely, the sound elements of Fusebox fabricated originally as an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesiser that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities in a beautifully-built box; the jack points introduced in the long-discontinued line of Concussor modular synth drum modules (themselves dating back to the time when Analogue Solutions was the third company to start producing Eurorack format-compatible modules, magical as that might sound in today’s ever-expanding era of thousands of Eurorack modules being produced by hundreds — if not thousands — of developers, both bigger and smaller); the patch pin matrix introduced in the long-lasting Vostok semi-modular synthesiser series (that knowingly nodded and winked at its Russian ‘roots’ from a visual standpoint); the lo-fi echo featured in Dr Strangelove as a small and affordable desktop signal processor (that ushered in Analogue Solutions’ so-called synthBlocks series); and last, but by no means least, the sequencer and CV touch plates introduced in Generator as a highly-versatile multi-channel analogue step sequencer — to form a truly analogue modular system skilfully presented as a precision-engineered electronic musical instrument is what really makes Ample stand out amongst Analogue Solutions’ present-day products.

Put it this way: while Ample shares all of those features from some of Analogue Solutions’ ‘greatest hits’, it still has a sound of its own thanks to the circuits on offer: OSCILLATING is handled by three analogue VCOs (Voltage-Controlled Oscillators), each providing a wealth of features and modulation choices, with the VCO3/LFO 1 legend visually highlighting that the third oscillator can easily be utilised as an LFO (with saw, square, and triangle wave modulation signals), while LFO2/SYNC has a triangle wave output to total two LFOs; the LP VCF (Voltage-Controlled Filter) section is anchored around a four-pole 24dB-per-octave low-pass filter; the VCA (Voltage-Controlled Amplifier) can be set to THRU so it is always ‘open’ (allowing Ample to be used as an effect processor); the two envelope generators — EG 1 and EG 2 — each offer full control over ATTACK, DECAY, SUSTAIN, and RELEASE; extensive modulation routing choices allow for a wide range of resultant sounds extending into percussion and ‘modular’ territory, further extended by patching with the jack sockets and pin matrix; MIDI is intentionally kept simple so users can concentrate on creating new sounds and making music, with all- important control over filter cutoff available via MIDI Velocity; patchable CV control sockets allow the synth in question to effectively be rewired to make new sounds, as well as easily patched together with external Eurorack and other modular systems; the PATTERNATOR is a vintage-style 16-step sequencer; the six touch plates each output a set voltage, so can be used to pitch notes or as modulation signals — either way, they are truly inspirational in action; the pin matrix represents a neat (and flexible) way to patch the synth; and the ECHO section provides easy access to adding a little lo-fi echo or delay.

Audio applications abound when working with Ample as a synthesiser — excelling at analogue sound effects, as well as fat basses, screaming leads, and all manner of other crazy sounds associated with analogue synthesis; an effect processor — perfect for feeding external sounds through the onboard analogue filter and ECHO sections via external audio inputs; a drum synthesiser — suited to producing electronic percussion, including cymbal, hi-hat, kick, and snare sounds; and as a modular synthesiser — partially pre-patched, but with such a wide range of modulation routing possibilities that it is almost as versatile as a full-blown modular system, and capable of producing the same types of sounds but dispensing with telephone exchange-like cabling confusion in favour of making space-saving connections with removable coloured pins, yet still providing a flexible selection of patch sockets so it can quickly be re-patched into itself or to/from external Eurorack and other modular systems.

It is also worth noting in conclusion that while Ample can be used with an external MIDI keyboard or DAW (Digital Audio Workstation), or an external CV keyboard or analogue sequencer, it is equally at home being worked with on its own using its internal step sequencer or pitch played via its six-touch plate ‘keyboard’. Whatever way anyone chooses to work with Ample, it could conceivably be argued that it is the best desktop synth of all — Analogue Solutions-wise or otherwise!

Limited quantities of Ample are already available to purchase directly from Analogue Solutions for £1,999.00 GBP (excluding tax/VAT) via its dedicated webpage (https://www.analoguesolutions.com/ample) while stock will soon be arriving at selected dealers (https://www.analoguesolutions.com/dealers).

Check with dealers on the right for availability.

Luminous Trilogy & A CATALOGUE OF FM MATERIALS by Element433 ( a.k.a. Pere Villez)

via Element433 (Pere Villez)

"When I made the popular YouTube series 'FM Catalogue of Materials', many viewers commented that they would love to see some more of the 'music tech as cinema' style created in the videos.

My new project 'Luminous Trilogy' release, does exactly that. In part 1 'WTD', synths and synth technical diagrams, together with Pure Data/Max patches, become casual parts of the film's environment, which is set in an alt near future. Part 1 was realised with analogue modular, whereas Part 2 "Breath" was scored using binaural audio, VCV rack and live Indian tablas. Part 3 'Contrails' uses physical models, Samplicity's Berlin Studios and vintage FM hardware."

Update: Element433 has made the VCV patch and assets used in the film "Breath" below a free download. You can find instructions on downloading the patch and setting it up here: http://tinyurl.com/e433WpBrvcv.

Luminous Trilogy

video uploads by Element433 ( a.k.a. Pere Villez)

"Three music shorts around the theme of light, from incandescent urban folklore set in the near future, electric neon glowing medussae to impossible skies, all to the sound of dark ambient and techno-world music"

Playlist:

Walking The Dulzaina - Luminous Trilogy - Part 1

Walking The Dulzaina is an edited one-shot music film which details the manic walkthrough time-lapse of an imaginary synthesised dulzaina (Spanish folkloric instrument) being taken for a walk through the "Las Vegas" like dressed streets of a small village festive celebration set somewhere in the near future.

The visuals are nods to the Bladerunner, Lynch, Weirdcore and Kubrick where the glow of transparent neon CRTs, display technical diagrams with a music technology theme. Some suddenly slide up from the ground, while others cross from one side of the street to another.

The music is inspired by minimalism, industrial techno synth-folk where Steve Reich and Techno meet Raymond Scott and 1960's BBC radiophonic.

Musical Equipment Detail:

Intro: Moog Subharmonicon through Fairfield Randy's Revenge ring modular - into two crunchy Elby Systems stereo valve preamps and out into a stereo pair of Doepfer A-199 spring tanks).

Dulzainas: Buchla Easel Command sometimes untreated and sometimes solo through a J.H. 'Son of a Storm Tide' stereo analogue studio flanger (built by Van Daal Electronics (second dulzainas and very low transition whoooses). Buchla and Subharmonicon sync locked and clock divided by Ornaments and Crime clock divider.

Final wormhole sequence: Subharmonicon through stereo A-199 Doepfer spring reverbs and Paulstretched.

This work is not sponsored by any the manufacturers mentioned. They are personally purchased pieces of equipment.

Album:
https://distrokid.com/hyperfollow/ele...

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AUM Keyboard Zones Quick How-To

video upload by boxoftextures

"A quick how-to on how to set up keyboard zones in AUM on the iPad. I connected a CME Xkey Air keyboard to AUM, then added three instruments—bass, piano (with far too much reverb LOL), and “guitar.”

To set up the zones you need to go to the MIDI input settings for each channel and specify the note ranges. After that you can play from the bottom of the keyboard, and as you move upwards you go from bass to piano to guitar. Or you could overlap the ranges, or layer them, or any number of other things depending on what you’re trying to accomplish."

WoFi Jam 04 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"I went to Nantes two weeks ago to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!"

WoFi Jam 03 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"Two weeks ago, I went to Nantes to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!"

Anamnesis (4/4) - The Lake

video upload by Hélène Vogelsinger

"A n a m n e s i s ( 4 / 4 )

The Lake

The creation of the lake, 73 years earlier,
led to the flooding of the agricultural land
of the village's inhabitants.

Thus pushing them to leave their home,
where many generations have succeeded
one another since the twelfth century.

The resistance fighters were expropriated;
sealing the fate of these centuries of history.

Although devastated, the village is not part of the past,
and there are still a few lineages to bear witness to its
past existence.The descendants of the last farmer live
among the ruins, and we can still hear the sound of life
in the distance.


✨ 👁️ ✨ 👁️ ✨

CLICK FOR MORE »

WoFi Jam 02 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"Hey, this is Romain, creator of Kiviak Instruments 👋

Last week, I went to Nantes to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!

And the Kickstarter campaign is still live until the 16th of November, so it's not too late to preorder your WoFi ⏳😌

Check our Kickstarter campaign to know more: https://www.kickstarter.com/projects/..."

WoFi Jam 01 in Nantes with Les Sondiers

video upload by Kiviak Instruments

"Hey, this is Romain, creator of Kiviak Instruments 👋

Last week, I went to Nantes to shoot a Twitch live with Knarf from Les Sondiers.
We jammed in the afternoon and had a lot of fun, and I wanted to share some things that came out!
By the way, maybe some of you have missed the news...WoFi is now 100% funded! 🎉 THANKS A LOT!

And the Kickstarter campaign is still live until the 16th of November, so it's not too late to preorder your WoFi ⏳😌

Check our Kickstarter campaign to know more: https://www.kickstarter.com/projects/.."

Buchla Thunder + ASM Hydrasynth | Noise Improvisation

video upload by Ryan Gaston

"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."

OXI One Tutorial - CV Trigger Envelopes & Modulations

video upload by OXI Instruments

"Unlock the secrets of CV Trigger Envelopes and Modulation Lanes in this tutorial, designed to swiftly broaden your understanding of the OXI One CV Modulation features.

Explore practical applications, creative tips on using the Modulation Lanes for CV modulation, Random Generator, and insights into the Velocity and Gate columns Views, all packed in a concise yet comprehensive guide.

Explore another take on the topics we've covered in our video by checking out this tutorial by @SynthDad :"

Oxi One - the brain for your modular setup. What you need to know to get started

video upload by SynthDad

"The Oxi One is perfect for controlling your modular setup, but configuring it can be overwhelming at first. In this tutorial I show you how to use your Oxi One to control your modular synth; I’ll explain how the CV/gate mapping page works, how to send envelopes, how modulation using LFOs and automation lanes works, and how to set up a polyphonic patch using the Oxi One as the brain. Best of all we'll get to draw waveforms by hand on the grid to modulate our patches - cool!

This video builds on my previous one. (below) and if you've watched that you'll feel right at home here. Even if you're not an Oxi wizard just yet you'll find this video easy to understand as I've broken it down into themes:

1. Understanding the CV/gate mapping page
2. Creating a one-voice monophonic patch
3. Sending envelopes from Oxi One
4. Adding complex modulation to patches
5. Drum sequencing in modular
6. Polyphonic modules"

Oxi One - 5 Quick Tips to start making music fast

video upload by SynthDad

"The Oxi One is a powerful MIDI sequencer but when you first sit down it can be tough to understand how it works. This is the first in a series of videos where I explain how to use the Oxi One, get to grips with its features, and how use it to make music fast.

In this first episode I will give you 5 quick tips to get started making music with the Oxi One and your synths. This isn’t meant to be an exhaustive deep-dive into every feature, or a review of the device. Instead these are the top five things I think you need to know to get going quickly."

Kiviak Instruments' WoFi Comes to Kickstarter

You might rmember Kiviak Instruments' WoFi from previous posts here.

The have launched a Kickstarter campaign. Price of the WoFi on the Kickstarter Campaign: 599€ / 599$US

Public price of the WoFi post-campaign: 799€ / 799$US.

Press release follows:

"Say hello to WoFi

Kiviak Instruments is pleased to officially announce the release of Wofi, their first instrument ever, on October 17, 2023.

This date will begin a one-month Kickstarter campaign as a pre-order tool to scale the volume of production needed.

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The Blue Marble Synthesizer Project Plans to Put a Music Synthesizer Controller in Space

video upload by Physical Synthesis

Blue Marble Synthesizer Project: Andrew Huang


Physical Synthesis, the makers of Cicada, wrote in to let us know of a new project soon to be seeking funding on Kickstarter.

I asked them what the platform would be based on. They replied:

"The web-based interface will be an adapted version of Patatap to which we’ll add a video feed and other interactions that will be possible to trigger inside the space capsule (i,e agitate the marble by turning on a fan, LED array, microphone, speaker, etc).

The space capsule has a set of different elements that allows to change the position of the physical marble floating inside the zero-gravity chamber (a set of sensors that calculates the position, a fan that agitates the position of the marble, a microphone that records those interactions, etc). All that data is then being sent back to us on earth (or in reverse sent to the capsule from earth using the Live mode). In other words, the web-interface receives data/interactions from the capsule and the Live mode allows to send data/interactions directly to the capsule. Lastly we’re building a VST plug-in allowing to receive MIDI and hook up data directly into your DAW or other synth."

In short the interactive hardware controller w/ microphone to capture audio is in space, while the synth engine and processing is done on earth.

Addtional details from the Kickstarter/Press Release follows.



The Blue Marble Synthesizer is the first-ever music synthesizer that can only work in space and that is playable from here on earth. It’s a synthesizer for making music and experimenting with sound. The system consists of a pressurized capsule in a low earth orbit satellite, a network of sensors, and a web-based interface for people to play with here on earth.

1. The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. It measures the behavior of a marble floating in a zero gravity synth capsule and sends sensor data, audio feed, and video feed back to us on earth.

2. The Web-Based Interface is an interactive and self-contained web audio synthesizer designed for everyone. Through a collaboration with the creator of Patatap, this application blends interactions from the Blue marble Synthesizer Capsule data with a traditional interactive music synthesizer. This web-based interface is a way to explore the interactions between the Blue Marble Synthesizer Capsule and people’s own musical creativity.

● When does the space mission start?
The Kickstarter campaign is set to start on Wednesday, October 4 for 30 days until the rocket launch which is set for Wednesday November 1 aboard the SpaceX Falcon 9 Rocket. Once in orbit, the Blue Marble Synthesizer Space Capsule will be rotating around earth every 90 minutes.

● Why does this project matter?
The Blue Marble Synth Project is intended for all those who share a passion for space, music, and the intersection of science and art. Music has always been a universal language that transcends cultural barriers, connecting people on a deeply emotional level. By introducing a music synthesizer to space, we expand the horizons of artistic expression and create a new dimension for human creative endeavors off-planet.

● What is the experience like for supporters?

1. Two primary ways: people will have the chance to make music with the audio and the data captured by the Blue Marble Synthesizer in two primary ways: through an interactive web-interface or via a VST-plug-in. Some supporters may also have the chance to play and interact with the system directly in space.

2. The Blue Marble Web-Interface: is a self-contained web based application that works from here on Earth. Inspired by Patatap, this application blends interactions from the Blue Marble Synth Capsule Data with a traditional interactive music synthesizer.

3. The Blue Marble VST Plug in: this feature allows to receive MIDI and control data from the Blue Marble Synth Capsule to use with other digital synthesizers and digital audio workstations such as Ableton LIVE, FL Studio, Presonus Studio 1, etc.

● Who are the artists involved?
Andrew Huang, Benn Jordan, Trovarsi, and MAYSUN, are invited artists who will compose original music with the Blue Marble Synthesizer during this orbital mission. They each possess the adventurer's spirit that we believe is at the heart of this project.

Andrew Huang
We are thrilled to have Andrew Huang, the YouTube phenom and Toronto-based artist join the Blue Marble Synth Project. As a highly acclaimed music and video producer, Andrew's unique ability to seamlessly blend diverse musical styles with captivating visuals aligns perfectly with the innovative vision we seek to bring to life. His creativity, coupled with his commitment to pushing artistic boundaries, makes him an invaluable addition to this project

These 4 artists will compose original music using the Blue Marble Synthesizer and the resulting tracks will be released for project supporters on an exclusive LP post-mission.

● What else can supporters get by supporting?
Beyond accessing the Web-Based interface and Artist Album, supporters also get access to a range of branded Blue Marble Synthesizer merchandise designed by Physical Synthesis. The collection features a sticker and mission patch, hoodie, t-shirt, cap, tote bag, and more.

● What goes inside the Blue Marble Synthesizer? Technical Breakdown
The Blue Marble Synthesizer Capsule consists of a pressurized CubeSat module configured with a control computer, camera, sensor array, fan, LED array, a microphone, and a speaker. The module allows supporters to receive data so they can control other synths and interfaces as well as initiate actions that affect what happens inside the capsule

1. Zero Gravity Dynamics: to make the Blue Marble Synthesizer an instrument that can truly work in space, it requires harnessing the power of zero-gravity. To do this, the synthesizer relies on interactions between a spherical piece of glass – the blue marble – and an array of accurate laser sensors that measure the distance and location of the marble as it floats around a small pressurized chamber.

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