DACS Freque II Ring Modulator Demo

Published on Apr 15, 2014 perfectcircuitaudio·58 videos

"This is a demo of the DACS Freque II processing a TR-909, Nord Wave, Pro-One, and TR-606. Enjoy!"

via this auction

"Produce pumping tracks that stand out from the crowd with the FwS FREQue II (pronounced "freak"), a genuinely new and inspirational analogue effects processor.

The Effects

With low frequency modulation inputs: Simple to complex autopan effects, gating, amplitude modulation, flanging, spatialising

With mid frequency modulation inputs: Vocoding type effects, adding tunable harmonics, both lower down to subsonic, and up to supersonic, second harmonic distortion (like valves/tubes), harmonising, retuning percussion, gating, general rich distortion, Sci-Fi voices (eg a Dalek)

With high frequency modulation inputs: Transposition with distortion, adding glitter, air, sparkle etc when mixed back into original

With music or sounds into both inputs: Vocoding effects, gating effects, fattening/thickening effects, spatial effects, weird transformations

Internal FM: Frequency Modulation of modulation oscillator at all frequencies, giving effects ranging from slow pulsation to the classic FM generation of complex waveforms

External voltage control of oscillators: Envelope follower effects, FM effects as above, randomised autopanning

Frequency shift: Up and down shift of frequency with change in harmonic structure, with FM for sliding effects, using feedback loop to create filter type sweeps

Application Ideas

This section is not intended to be a comprehensive list of all that can be done with the FREQue II. Rather it is a list of starting points for you to begin experiments from. Using the FREQue II, producers and engineers can almost infinitely extend the voices of their existing battery of synthesisers and sound generators and create vast ranges of completely new sounds, add depth and warmth to early digital synthesisers, give drums new power, radically transform voices...

Some treatments will require mixing with the original signal and some will need to be kept separate. For example adding distortion to a continuous sound will need mixing while gating effects will not.

Tone and Music:

Set Up: Feed a stable tone, or a slightly varying one, into the MOD input and the music or tune into the MUSIC input. The MOD input could be from the internal oscillator. If the MOD input is harmonically related to the key of the music the OUTPUT will tend to be harmonic e.g. the MOD input is a D and the music is in the key of D, then the output will tend to be harmonically rich. If the MOD input is not related, then the output will be rough, bell like and/or noisy depending on the frequency of the input.

Try this: Use held chords that have a certain amount of vibrato - as the pitch of the chords varies so the harmonic content of the sound will vary. Vary the MOD frequency to generate sliding upper and lower harmonics, Use randomly generated frequencies from synthesisers on MOD input, Try varying the edge controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects, Have a go at the 1st oscillator range to produce gating effects, the 2nd range to produce tremolo effects, the 3rd range to produce heavy modulation effects while the 4th range will produce higher and higher harmonic effects

Drums:

Set Up: Feed percussive sounds into the MUSIC input and tones or other sounds into the MOD input. The MUSIC input will then act as a trigger and give a gating effect, only producing OUTPUT when the MUSIC input signal is present.

Try this: Vary the MOD input frequency to produce output harmonically related to the music, Feed the melody into the MOD input and the percussion will 'play the tune', or at least tend to go up and down with it, Feed any old music to the MOD to produce an effect similar to scratching, Feed the MOD input with carefully selected samples synchronised with the percussive sounds, Using the FREQue II's oscillator set on the 2nd or 3rd range generate deep deep bass sub harmonics on bass drums, Using the oscillator set on the 4th range generate grain, grit and glitter on snares, hi hats, cymbals, maracas

Vocal Inputs:

Set Up: Feed your voice into the MUSIC input and feed a variety of signals into the MOD input - music, tone, noise...

Try this: Use the voice to gate the MOD inputs, Use the voice as a percussion imitator to produce hot rhythm sections from modulated MOD inputs, Try the 1st range to produce gating and heavy breathing effects, the 2nd range to produce tremolo and panting effects, the 3rd range to produce heavy modulation effects (Dalek/sci-fi voices among others) while the 4th range will produce higher and higher harmonic effects

Same signal or L & R of stereo into both inputs:

Set Up: Feed the same signal or the left and right of a stereo signal into the MUSIC and MOD inputs.

Try this: Mix the output into the original signal to harmonically enhance the signal, Left and right inputs into MOD and MUSIC inputs respectively on both modules can produce phasing and other spectral phenomena, particularly if the spectral controls are varied, Try varying the edge and/or weight controls contrariwise i.e. turn one up as you turn the other down, to produce stereo effects

Delay/feedback:

Set Up: Use a delay line to process signals going in to or out from the units

Try this: Feed audio out back to MUSIC input via delay at tempo or multiple of tempo, Do the above with long decays on the end of sounds, Split the signal to both inputs and use delay line on one input to produce weird flanging effects on output, pan both outputs centrally or left and right

Multiple Modulation:

Set Up: Feed music into the MUSIC input of one modulator and use the internal oscillator to modulate it. Take this OUT to the MUSIC input of the second modulator and modulate it with the same internal oscillator. The result is that the original signal is reconstituted and additional higher partials are also added."

Pittsburgh Modular A Filter of Crows, Dynamics Controller Bat, & The Wolf Eurorack Modules

Pittsburgh Modular A Filter of Crows Eurorack Module Lab


Pittsburgh Modular Dynamics Controller Bat Eurorack Module Lab


Pittsburgh Modular The Wolf Eurorack Module Lab

video upload by Pittsburgh Modular Synthesizers

A Filter of Crows
Our classic Pittsburgh Filter pushed to the limits. The overdrive preamp from original Crow module paired with switchable filter response, resonance instability mode, and voltage control over both frequency and resonance. A Filter of Crows can be both menacing and subtle with a massive sonic palette. Shifting from buttery smooth sweeps to punishing, overdriven noise without ever sounding harsh or uncomfortable. This is the most interesting variant of the Pittsburgh Filter we have created.

A Filter of Crows is a unique filter module that builds on the concept of the highly sought-after Safari Series #1 module, 'Crow'. It combines three Pittsburgh-designed 100% analog technologies.

Ultra-high-gain preamp:
The first is an ultra-high-gain preamp circuit. The preamp, taken directly from the original Crow offers a unique up to 75x of variable gain overdrive. This circuit provides unmatched dimensions of overdrive without sounding harsh. Additionally, the circuit can be completely bypassed to allow for a completely clean exploration of the other aspects of the module.

PGH Filter:
Next is a 12db State Variable 'no-dead-spot' Filter, The classic PGH Filter with manually selectable and stackable filter responses. Lowpass, bandpass, and highpass filter responses can be enabled or disabled individually for instant parallel processing.

The PGH filter has been continually refined over the last 12 years of research and altered to fit the demands of each system that it has been a part of. One of its unique defining characteristics is its ability to offer a complete sweepable range without any noticeable dead spots. Dead spots are uneven / muted portions of the swept range due to non-linearities in the circuitry. The PGH filter has no noticeable dead spots and is voiced to interact well with the high-gain preamp circuit. The result is a rich, even, fully sweepable range.

Resonant Stability Circuit:
Lastly is Pittsburgh’s Resonant Stability Circuit. This circuit enables the PGH filter to provide near-infinite resonance without slipping into self-oscillation, unless the user wants it to. Set to stable, Crows will not self-oscillate. It operates as a clean, organic filter. Set to unstable mode, the character of Crows changes dramatically. At normal settings, the incoming signal modulates the self-oscillating filter to produce harmonically complex sounds. In more extreme settings, Crows will start to struggle with controlling the oscillating resonance, adjusting the resonance shifts from ringing fuzz to heavy distortion to an extremely musical total failure."

Dynamics Controller Bat
Both a resonant filter and a VCA, the Pittsburgh Modular Dynamics Controller Bat is a modern re-interpretation of Don Buchla’s famous 'lopass' gate. The original lowpass gate was limited to a static response time that varied from unit to unit. For better or worse, this made each lowpass gate a little different. The Dynamics Controller Bat solves this issue and expands on the original concept by adding a unique voltage controllable response curve and variable resonance to the lowpass gate. Nothing has more depth, sounds more natural, or feels more alive than the our Dynamics Controller. Not only is this module unique in the world of modular synthesis, it sounds amazing.

Both a resonant filter and a VCA, the Pittsburgh Modular Dynamics Controller Bat is a modern reinterpretation of Don Buchla’s famous 'lowpass' gate.

Unlike a VCA, which simply changes the loudness of the sound without modifying the harmonic content, the lowpass gate circuit uniquely simulates the characteristics of how sounds interact in natural environments.

When used in lowpass gate mode, louder sounds contain more harmonic content and quieter sounds contain less harmonic content. The result is a more organic, complex, and rounded sound.

Don Buchla’s original lowpass gate (LPG) was limited to a static response time that varied from unit to unit. For better or worse, this made each lowpass gate a little different. Pittsburgh’s research that has made its way into the Dynamics Controller Bat solves this issue. It modernizes Don Buchla's concept by adding a unique voltage controllable response curve and variable resonance to the lowpass gate. This allows for all the sonic depth of the LPG while providing the same kind of sustain control offered by a more traditional VCA. The resulting Pittsburgh innovation is the best of both worlds, natural and alive sound, that's completely controllable."

The Wolf Channel Strip VCA
The idea was to design a VCA that makes everything sound better. Through the use of a custom Wolf preamp circuit, parametric EQ, and a high quality, linear VCA, The Wolf adds depth and presence to any patch. A custom preamplifier with variable gain control shifts between .5x and 7x gain followed by a soft clipping limiter. Results range from fully transparent to warm saturation to overdrive depending on how hard it is pushed. A three stage, 15db EQ pairs sweeping low and mid range channels with a fixed frequency high shelf followed by a second soft clipping limiter identical to the one in the preamp to keep it smooth. Green, Yellow, and Red LEDs are both fun and informative! Located after the EQ and before the VCA in the signal path, the LEDs offer insight into the audio signal.

The Wolf is a Channel Strip VCA designed to improve and provide more control over any input source. It does this through another three unique circuits.

Wolf Preamp
The Wolf’s Preamp is a custom preamplifier with variable gain control shifts between .5x and 7x gain followed by a soft-clipping limiter. The soft-clipping limiter is a way to control the amplitude of the signal while avoiding harsh distortion. Depending on how hard it is pushed, the results of running a signal through this circuit range from fully transparent to warm saturation to overdrive.

Wolf three-stage Semi-Parametric 15db EQ
The Wolf also has a three-stage Semi-Parametric 15db EQ featuring sweeping low and mid-range channels, as well as a fixed frequency high shelf. The EQ section is followed by an additional soft-clipping limiter identical to the one in the preamp. This evens out the signal keeping the audio sounding smooth.

Wolf VCA
The Wolf’s VCA is a low noise, high quality, linear voltage controlled amplifier with both manual level and CV attenuator controls.

Metering
No channel Strip would be complete without metering. Wolf’s LED Meter provides Green, Yellow, and Red LEDs for fun and informative listening. Located after the EQ and before the VCA in the signal path, the LEDs offer useful insight into the audio signal."

Price, Availability, and More Information The retail price for the A Filter of Crows, Dynamics Controller Bat, and The Wolf Channel Strip VCA is $249 USD each. Because these modules are considered experiments, production has been limited to 200 A Filter of Crows, 250 Dynamics Controller Bat, and 200 The Wolf Channel Strip VCA modules. The modules are available now through the Pittsburgh Modular web shop. More information regarding the A Filter of Crows, Dynamics Controller Bat, and The Wolf Channel Strip VCA Eurorack Modules is available at pittsburghmodular.com/safari.

Future Retro Revolution with Original Box

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"The Revolution is a concept synthesizer with an intuitive interface that we feel most accurately represents the principles of time and music. From ancient sundials to modern day analog clocks, time has been represented as the circle, a cycle which never ends. Time itself is nothing more than our perception of the revolution of planets as they journey through their celestial orbit. It is this motion that we call time that can be measured, divided, and arranged to provide the foundation of music. This circular cyclic theme can furthermore be found throughout music in everything from song structure and repeating rhythms to the fundamentals of sound itself, being the sine wave. With this understanding we must conclude that music is cyclic and should so be represented in its natural form.

And so it is...the Revolution, a true analog monophonic synthesizer with an easy to use step-based digital sequencer, analog and DSP effects processing, and various interfacing for controlling MIDI, CV/Gate, and Din Sync devices.

Continuing in the tradition of building quality products, this unit is housed in a rugged aluminum chassis with aluminum side panels, a high contrast white on gun metal grey finish for superior viewing of controls in dark environments, and bright blue LEDs all around.

CLICK FOR MORE »

Modified Minimoog

via this auction. Details on mods:

"It is a modified one, but very professionally modded by a Company I don’t know anything about, in “ancient times”... The mods look almost factory-made, considering the quality of wood cutting and added printed metal written panels. You’ll find the logo of the company in the picture of the modulation panel. If you can provide any historical info about this matter, you're welcome! This Mini has A LOT OF ADDITIONAL FEATURES, compared to a standard one, adding more versatility and interfaceability to the analogue realm! It can be used as a good controller for other Moog, ARP, Oberheim, Roland CV/Gate controlled analogue / modular synthesizers."

CLICK FOR MORE »

The Hitchhiker's Synth to the Galaxy

Meet Deep Thought, an Oakley Based Analog Modular currently up for auction. Title link takes you to the shots. More on the synth pulled from the auction below. Via this post on VSE.



"I designed and built this Synthesiser myself, with Oakley Sound System modules and a lot of ear-bending with Tony Allgood (Oakley).

It has taken me an absolute age to build, and the Schaffer Front panel cost me 450 Euros alone. I also designed that. The patch panel uses the same principle as the Synthi AKS patch bay, in that voltages are summed on the rows, with patch pins having resistors in, with summing amplifiers on each row. This means that (say) the outputs of two LFOs can effectively be mixed on the bay and output to one of the pre-routed destinations. The Synth, which I called DEEP THOUGHT, (after Hitch hikers Guide to the Galaxy and took nearly as long to build as finding the ultimate answer- Oh and I was 42 when I started this thing!), was designed to have a fixed internal routing, but I got frustrated by those limitations, so I built a jack-panel into DEEP THOUGHT's top, where the internal routing came out to. This means it is not hard wired on the inside anymore, so you have to route it on the top for the synth to work. This gives much greater flexibility. I think I should have kept the internal hard-wiring and used the jacks as by-pass switches, but anyone with any savvy can do that.

Every module works. I have used screened cable for audio inside too. The power supply is well beefy enough to power the synth without it breaking into a sweat. In fact the supply is bolted to a huge piece of car-panel sheet metal, so you can have DEEP THOUGHT on all day, and it barely gets warm.

The synth is basically configured as a Stereo Pair of twin VCO/ twin LFO synths, but since the wiring is now so open, it can be whatever you like, within the limits of the wiring.

Each of the VCOs (4 of them) are Moog style Oscillators, with Oakleys proprietary tuning stability. Terrifically stable, and you don't need them to warm up for hours before they are useable. Really powerful sound, especially in unison! Wow. The pulse width is continuously variable and I have used a dedicated LFO for each pulse width modulation on each oscillator, which gives this synth a total of 8 LFOs. the PWM LFOs do not output to the patch-panel, though, since they are dedicated. The waveforms are Pulse, Saw, Triangle and Sine.

The two filters on the synth are a juicy Moog style ladder filter (left) and a precise State Variable filter (right). Control voltages for each are accessible from the patch-panel.

The patch panel has an led on each row output to indicate the activity on that row, and it's a great way of keeping tabs on what is going on in a complex patch-and the patches can get preettty complex!

The sample-hold clock is controlled from the patch-panel, as is its' sample signal. The output of it comes back to patch panel, and can be routed to, say, filters cvs etc

There are two PHASERS, one for each output, if you configure the synth in STEREO mode, of you can stack them or put them in serial. They have varible Q and a built in LFO for sweeping, as indicated by a cute bi-colour LED. DEEP THOUGHT is scattered with bi-colour LEDs, actually, and it's great in the dark (but get the patch done first!)

There are four VCA/EG combinations at the bottom of the synth. Two are hard-wired to the outputs, the other two are accessible from the patch panel. Each filter has its' own ADSR type envelope, hard wired internally, and dedicated to each filter.

The midi interface is configured for channel one, and also has the master tune facility, so once your VCOs are where you want them, you can just shift all four to match your others synths, and they keep there relative pitch tracking perfectly. There is also a cool retrigger/glide function.

The Noise unit features White and pink noise and an exceptionally useful INFRA RED output, which is a very low frequency random CV which outputs separately to the patch-panel.

If you use a Sequencer like Logic, you can control DEEP THOUGHT (via the midi interface) by use of HYPERDRAW in LOGIC so you can use modulation sweeps, velocity contours, and CC102, which can be assigned by you in LOGIC (or CUBASE, I'm sure) for any use. In fact, since the outputs of each of those HYPERDRAW curves manifest themselves as variable control voltages at the patch panel, you can assign them to whatever you like! Programmable filter sweeps are the obvious 1st choice!

The patch-pins are new genuine EMS ones, with a few non-resistance pins-just shorting type.

All the boards were built from the ground up by me, using quality components from RS and Rapid. It has cost me thousands of pounds and too many hours to count.

There's such a lot of meat on this synth that it's almost impossible to be sure I've remembered to mention everything, but anyone seriously intending to buy it, will know from the pictures just what it can do. Any (sensible) questions I will attempt to answer.

Mechanically, the big steel backplate just screws off, and it and the power supply just unplugs from the internal wiring (via coded suitable sturdy plugs), so the internal wiring is easily accessible for maintanance or modification.

So, to the niggles-:

1) I didn't wire the LEDs so they all shine red for positive voltages! So they vary from RED to GREEN, on positive (or negative) voltages and a couple of the patch LEDs glow with nothing plugged into the row, (which is the earthing issue I spoke of elsewhere), but those rows DO sum correctly anyway, and the LEDS do reflect what's on those rows when plugged into, so it isn't a serious issue.

2) The bypass switch on the right hand PHASER is wired wrong and doesn't bypass, and I just don't have the time to sort it. Should be a brainless fix, though.

3) The patch-panel had to be mounted so that the end collumn (EXTERNAL OUT) is shorted and doesn't work. This could easily be sorted by finding a different mounting for the patch-panel on the Schaffer panel. The patch-panel on that collumn works in itself-it's just the mounting screw! However, there is a spare socket on the top which could be wired for EXTERNAL OUT if you want.

4) a couple of pots are starting to sound a bit scratchy and could do with spraying, but still perfectly functional.

5) This thing is HEAVEY, 25Kg. The steel backplate is the big culprit, but those lovely FRENCH POLISHED (by me!) side cheeks are REAL solid HARDWOOD MAHOGANY!! So THEY weigh too. "

Akai AX80

Title link takes you to shots via this auction.

"Akai’s first venture into the synthesizer arena. Released in 1984 for $1,395 and later reduced to $999. The unit is mono-tambral eight voice with two DCO’s (plus a sub-osc) per voice. It features a 5 octave velocity sensitive keyboard with a nice amount of resistance. Velocity can be routed to control the filter cutoff and / or the VCA, and has a nice full range of 99 steps. A spring loaded pitch bend wheel and non spring loaded modulation wheel are at the base left on the keyboard (where they belong). The wheels parameters are global and are controlled by two knobs above the wheels. The pitch wheel has a maximum range of +/- 1 octave. The modulation wheel can control the oscillator modulation and/or filter modulation. The most interesting feature on the unit is its fluorescent display which details the parameter value of almost all parameters at once via bar graphs (only one envelope is displayed at a time). The display makes programming the unit a breeze and is very informative especially if your new to subtractive synthesis. Almost each parameter has its own switch (32 switches in all) and the parameter’s value is changed using a knob for large changes and membrane switches for +/- 1 increments. The know functions in real time so you can adjust a specific parameter as you play. In addition to the massive parameter display the unit also features a two digit and three digit L.E.D. which in edit mode displays the parameter selected for editing and its current value. When the unit is not in edit mode the unit displays the patch selected. The thirty two membrane switches are used to select the patch when the unit is not in edit mode. The unit holds three banks (A,B,P) of thirty two or 96 in total. And as you probably guess P stands for preset which are non volatile but the other 64 are volatile which is plenty of storage space. The display is one of the best on any synth I have ever seen or used. The voice parameter section is quite nice albeit fairly standard and makes some great sounds. The AX-80 uses CEM chips and has a two pole filter. Each voice is comprised of two oscillators with an additional sub oscillator, VCF (high pass and low pass), three LFO’s, and two envelopes. Note: The unit has only three LFO’s in total so each voice shares the LFO’s (see below). DCO 1 offers a frequency range of 16,8,and 4, choice of waveform between sawtooth, pulse width, and a mix of the two, pulse width control, pulse width modulation speed (which is controlled independently of the LFO!!!), and a sub oscillator which produces a square wave one octave below the frequency selected for osc 1. DCO 2 offers a frequency range at any half step interval between 16 and 2. In additional it may de-tuned +/- 36 steps to achieve a nice fat beating sounding when heard with osc 1. Osc. 2 offers sawtooth, square (no pulse width), and mix of the two. In addition osc 2 may be hard or soft synced to osc 1. Osc 2 pitch may be modulated by either envelope (note: the envelope may be inverted). Osc 2 may be modulated by LFO 2. Each oscillator offers it owns volume control for simple mixing. Its a shame that the mix can not be controlled by velocity or one of the envelopes. VCF. The AX uses a two pole filter. The filter is fine for leads, basses, sweeps, synth brass, etc. The filter parameters for filter cutoff, keyboard follow (99 steps), envelope depth (may be inverted), resonance, key velocity and high pass filter (which is non dynamic but 99 values are allowed). The resonance is nice and thick and the filter can self oscillate. The resonance has a bass boost circuit so the sound doesn’t fall out from underneath so quickly as it does on some other synths. When the filter is opened wide, the sound can be quite bright. LFO. The AX has three LFOs in total for all eight voice, however LFO 1 controls osc , LFO 2 controls osc 2, and LFO controls osc 3, which allows for some very nice effects. Its great for fat leads since each oscillator can be slightly detuned using different LFO amounts, and their is still one LFO left to modulate the filter. If you hold down a chord and play a lead on top, every time you play a new key, the LFO’s will re-trigger this affecting the held chord. Sometimes this type can be quite useful. I wish that you could select weather the LFO would re-trigger or not. The LFO section is a trade-off but is different from most other synths, so I view it as a positive since it allows me to do stuff I can’t do on other units. Each LFO has the following parameter: depth, delay, rate, waveform which include sawtooth, reverse sawtooth, square, and triangle. It would have been nice to also have sine and random. ENV. Two standard ADSR envelopes with key follow. Key follow has 99 values which is much better than off/half/on as found on some synths. One envelope is for the VCA, the other is for the filter. However the VCA envelope can be used for both the filter and the VCA (note: this is parameter 30 set to 2 (VCA-VCF mode), leaving the other envelope to modulate the pitch of osc 2. Either envelope may be used to modulate the pitch on osc 2. The AX has midi in / out / thru (wouldn’t it be nice if all synths had all three jacks opposed to the combination out/thru or worse no thru). At least the unit powers is always in POLY mode and you may select any channel to receive on. Interesting enough you may then select any channel to send on, and therefore these channels may be different. The save / load time is very quick and one of the most reliable I have used. A verify feature is provided. The back panel is angled upward making for easy access. The back pannel supports a ¼ mono output, headphone jack, sustain jack, program pedal (which can be used to change programs in an +1 upward manner), and midi jacks (as noted above). The unit also has a chord memory feature and the keyboard can be transposed upwards over a range of 11 semitones. A really good synth ... very good and different sounding. The sound reminds me a lot of the Chroma Polaris, and it couldn’t sound anything less like a Roland. I view these as positives and the AX was a welcome addition to my set up. Being different is what it is all about."

Moog Voyager Old School Blowout

via mark:

"Nova is blowing them out for $1899 on their site. Won't last long. Get yours today!"

"The MINIMOOG VOYAGER Old School Synthesizer is a monophonic analog performance synthesizer. It has extensive patching facilities, and expanded modulation capabilities.The signal path starts with a bank of three wide-range, high-stability voltage controlled oscillators, one noise source and one audio preamplifier for externally-applied audio signals. The sound modifiers are two Moog filters and one stereo VCA (Voltage Controlled Amplifier).

Control devices include a 44-key keyboard with velocity and afterpressure outputs, pitch bend and modulation wheels and many control/pedal input jacks.The MINIMOOG VOYAGER OS has a hinged, multi-position panel and a solid hardwood cabinet. The power supply accepts any power voltage from 100 volts to 240 volts.

Oscillators Module
Three wide-range, high stability VCO’s (Voltage Controlled Oscillators) with continuously-variable waveforms. * FREQUENCY controls (2) vary the frequencies of Oscillators #2 and #3 over a +/-7 semitone range with respect to Oscillator #1.* OCTAVE selectors (3) set the frequency ranges of the oscillators in six octave steps.* WAVE controls (3) provide continuous control over the waveforms of the oscillators, from triangular, to sawtooth, to square, to narrow rectangular.* 1-2 SYNC switch synchronizes the Oscillator #2 waveform to the frequency of Oscillator #1, for dramatic timbral effects.* 3-1 FM switch provides linear frequency modulation of Oscillator #1 by Oscillator #3.* 3 KB CONT switch disconnects Oscillator #3 from control by the keyboard, thereby enabling it to function as a drone.* 3 FREQ switch lowers the frequency of Oscillator #3 into the sub-audio range, thereby enabling it to function as a low frequency audio or modulating oscillator.

Mixer Module
Five-input mixer for combining the audio sources prior to filtering. * Input Level controls (5) adjust the relative levels of the oscillator, noise, and external audio input signals.* Input switches (5) enable the player to quickly switch individual audio signals in and out.* External Level LED enables the player to set the correct external audio signal level.

Filters Module
Dual mode filter module includes dual lowpass and highpass-lowpass filtering. Dual lowpass mode consists of two Moog lowpass-resonant filters in parallel, one per output channel. Highpass-lowpass mode consists of Moog lowpass filter in series with a highpass filter.* CUTOFF control sweeps the frequencies of both filters throughout the audio range.* SPACING control sets the spacing between the frequencies of the two filters, over a +/-3 octave range.* RESONANCE control adjusts the resonance of both filters, from none (pure lowpass response) to filter oscillation.* KB CONT AMOUNT control sets how much the filters open and close as the player presses different keys on the keyboard.* Dual Lowpass/Highpass-Lowpass switch selects between dual lowpass operation or highpass-lowpass operation.

Envelopes Module
The Envelopes Module generates two wide-range ADSR (Attack Decay Sustain Release) envelopes. The Filter Envelope sweeps the filter and is available for modulation shaping. The Volume Envelope shapes the overall volume.* ATTACK controls (2) determine the attack times of the envelopes.* DECAY controls (2) determine the decay time constants of the envelopes.* SUSTAIN controls (2) determine the sustain levels of the envelopes.* RELEASE controls (2) determine the release time constants of the envelopes.* AMOUNT TO FILTER control determines how much the filter envelope will open and close the filter, from full negative (inverted envelope) to full positive (non-inverted envelope).* ENVELOPE GATE SWITCH selects whether the envelopes will be triggered by the keyboard, on , or by an externally-applied gate.

LFO Module
Low Frequency Oscillator generates triangular, square, Sample & Hold, and smoothed Sample & Hold waveforms for use as modulating signals.* RATE control sets the LFO rate over the range 0.2 Hz (one cycle every five seconds) to 50 Hz (fifty times a second).* WAVE LFO selector selects Triangle, Square or Sample & Hold (Stepped or Smooth) waveforms for use with the Mod Busses. * RATE LED provides visual indication of the LFO rate.

Enhanced Modulation Busses Module
Selects the sources, destinations, and shaping signals for the two modulation busses.* SOURCE selectors (2) selects the modulation source from the LFO, Oscillator 1, Oscillator 2, Oscillator 3, noise or the external modulation input (MOD2).* DESTINATION selectors (2) selects the modulation destination from Pitch, Oscillator 2, Oscillator 3, the filter cutoff frequencies, the oscillator waveforms, or LFO Rate.* CONTROLLER selectors (2) selects the Mod Wheel, MOD1, Velocity, Pressure, Filter Envelope or Volume Envelope to shape the modulation signal on that bus.* AMOUNT controls (2) sets the overall modulation amount for each bus."

NAMM: Clavia Nord Piano

"The Nord Piano is designed with the performing musician in mind and is very lightweight at approx. 18 kg (39.6 lbs).

The Nord Piano comes equipped with several acoustic and electric pianos and harpsichords. Other pianos are available as free downloads from the Nordkeyboards.com website.

The sounds are stored in a Flash memory with a 512 MB capacity. This allows you to replace every piano if you wish and the sounds are kept intact in the memory even when the unit is turned off, no loading time is necessary. The sounds are available for free and easily exchanged by using the Nord Sound Manager application, which runs on Mac OSX, Windows XP, Vista and Windows 7 computers. The Nord Sound Manager allows you to quickly organize your programs according to your needs and allows you to create backups of the entire content in your Nord Piano.

String Resonance
One of the Nord missions is to deliver more, in every aspect. Using the Nord Resonance Ready pianos (e.g. the R-labeled Grand’s and Upright’s), you can activate the Resonance feature on the panel, which will add this acoustic phenomenon to the Nord sound. The Nord crew has gone to great lengths to ensure an accurate reproduction of the acoustic resonance, using the actual sound of the source instrument in an extremely realistic way.

Nord Piano Pedal with extended functionality
The Nord Piano can use the new Nord Piano pedal, providing the functionality of all the three pedals found on an acoustic grand piano. The Nord Piano pedal functionality have been closely modeled to allow you to “play the pedal” in the same fashion as on an acoustic grand.

The soft pedal (also known as the una corda) makes the sound significantly softer. The sostenuto pedal in the middle provides the latching sustain functionality that sustains only held notes, when activated. When you activate the sustain pedal, you can hear pedal noise and the dampers being lifted from the strings. The force with which you operate the pedal will influence the levels of the components and you can even add percussive sounds from the mechanism by just striking the pedal itself. With the Nord Piano pedal (or a continuous sustain pedal from another manufacturer) you can also use half-pedaling and other techniques like “catching” released keys with the pedal, a unique feature on the Nord Piano.

Effects, EQ and Amps
Dial in your preferred sound with the effects and the powerful three-band equalizer with sweep-able mid, and save the settings with a quick double tap on the Store button. The effects in the Nord Piano are just as detailed as the piano sounds them selves. The tremolo adds that perfect vibe, the pan sweeps across the stereo panorama, and the auto-wah brings out the funk in you, like never before.

Whenever you want to spice up a sound with a beautiful phaser, a screaming flanger, a lush chorus, these are readily available. These modulation effects are modeled from a couple of highly desirable vintage effects.

The Nord Piano Speaker models faithfully reproduces the overdrive response of different amplifier/cabinet combinations, lending your sound that authentic feel. Select the desired speaker model – Small, JC or Twin – and use the Drive knob to add powerful tube amplifier distortion to your piano sound. Even the slightest amount will make a big difference to the sonic character."

New KORG LittleBits Introduction & Demo Videos

Playlist:

littleBits Synth Kit - Published on Nov 8, 2013
"The littleBits synth kit is an incredibly powerful, easy to use modular synthesizer in the world. The Synth Kit enables amateur and professional musicians to easily explore the iconic synthesizer instrument, allowing you to build your own sound machines (with signal generators, modifiers, modulators and controllers) and put on your own performances - all with little to no engineering or musical knowledge.

Developed to inspire innovation in hardware, littleBits lets users create circuits in seconds, with no soldering, no programming and no wiring required. littleBits has been recognized as "LEGO for the iPad generation" and has been heralded as the most extensive, modular and accessible electronics platform in the world. The brand's Bits™ modules revolutionize the way people interact with technology by breaking down electronics into their very basic parts (lights, sounds, sensors, motors, programmable circuits), and making engineering fun and accessible to "non experts" of all ages including children , teachers, artists, designers, makers, hobbyists and tech-enthusiasts.

littleBits makes an open source library of electronic modules that snap together with magnets for prototyping, learning, and fun.
Find out more at littleBits.cc
Credit: Reggie Watts: youtube.com/reggiewattsjash"

Keytar - Published on Nov 8, 2013
"Create your own electronic instrument!"

Play a Song: Row Row Row Your Boat - Published on Nov 8, 2013
Serenade your friends! Go to littleBits.cc/synth for color coded instructions on how to play this song and others!

Pressure Sensitive Pitch Sweeps (Basic) - Published on Nov 8, 2013
Create a sound generator the responds to your applied pressure.

Pressure Sensitive Pitch Sweeps (Advanced) - Published on Nov 8, 2013
Create a sound generator that responds to your applied pressure.

Play A Song: Twinkle Twinkle Little Star - Published on Nov 8, 2013
Serenade your friends! Go to littleBits.cc/synth for color coded instructions on how to play this song and others!

Percussion Party - Published on Nov 8, 2013
Dance to the beat of your own drums!

Note: Noise is an un-pitched sound. It is often used as a way to create percussion sounds because most drums are un-pitched instruments.

Metal Music - Published on Nov 8, 2013
Recreate metallic sounds with the envelope!

Light Sensitive Sound - Published on Nov 8, 2013
Use a light sensor to change the pitch of the oscillator.

Spooky Sounds - Published on Nov 8, 2013
Create a supernatural soundtrack.

In this circuit, the peak knob has a large effect on what the cutoff knob does. It emphasizes certain frequencies and creates a "peak" at these frequencies. If the peak is turned all the way up, the emphasis can be strong enough to increase the loudness of the sound and in some cases create an oscillation.

Tuning - Published on Nov 8, 2013
Tuning is the relationship between the pitches in a musical instrument. Instruments need to be "tuned" and a synthesizer is no different. by tuning instruments, you can create "melodies" that are recognizable.
The tuning dial on the oscillator bits module will alter the relationship between pitches. This will be important when using the keyboard and micro sequencer.

Beats and Base - Published on Nov 8, 2013
Create a bass line with LFO filter sweeps and a drum beat.

8 Step Sequence - Published on Nov 8, 2013
Using additional modules from the littleBits library such as the latch and inverter, two micro sequencers can be used to create an 8 step sequence.

Filtering Noise: Create a unique sound using the filter module - Published on Nov 8, 2013
The filter is known as a low-pass filter. This means that frequencies higher than a certain point will be reduced or filtered out. When the peak is increased and the cutoff is adjusted the timbral effect can sounds like a person making vowel like sounds.

Key Player: Learn how to play notes on the keyboard - Published on Nov 8, 2013
A synthesizer is commonly controlled with a keyboard similar to a piano. Each key creates a voltage that represents a note. Since a synthesizer is electronic, it is not limited to the same notes a piano can play.

Frequency Modulation: Discover how two oscillators interact - Published on Nov 8, 2013
An oscillator can produce a frequency that is too low to be perceived as a pitch. In this case it is known as an LFO or low frequency oscillator. Because the oscillator in your kit can be both low frequency or audio range, you can turn up the frequency of one oscillator and feed it into another oscillator to create "frequency modulation".

Synthesizer with the works - Published on Nov 8, 2013
Create one monster synth with all of these modules!

Play a Song: When the saints go marching in - Published on Nov 8, 2013
Serenade your friends! Go to littleBits.cc/synth for color coded instructions on how to play this song and others!

White Noise: Experience the random module - Published on Nov 8, 2013
The random module has two modes and one of them is called "noise". Un-pitched sound is generally categorized as noise or a collection of many frequencies that are not distinguishable from one another. Unlike a waveform, noise has no repeating pattern.

Synth Band - Published on Nov 8, 2013
Learn how to play a melody with accompaniment.

Echo and Delay: Learn how to make infinite repeating sounds with the delay - Published on Nov 8, 2013
The delay affects the sound but unlike the filter, its primary function is not to add or subtract from the original sound but to reproduce it. Think of it as an echo in a large room or cave. You make a sound, and that sound gets repeated for some amount of time depending on how big the space is.

Shape Your Sounds: Experiment with the envelope - Published on Nov 8, 2013
The envelope of a sound has a big effect on the character of the sound. The controls on the envelope Bits module are "attack" and "decay".

ATTACK - Attack is how long it takes the sound to get to its loudest point
DECAY - Decay is how long it takes the sound to fade to silence.

Access Matrix 1000 Programmer

You don't see these too often. Before the Virus A, Access used to make hardware knob boxes for the Oberheim Matrix 1000 and the Waldorf Microwave. Guess which one this is? : ) Title link takes you to more shots pulled via this auction.
If anyone gets this thing, post back in the comments with how it works as a real time controller.

via brian comnes.

Update via Till "Qwave" Kopper in the comments:
"The Matrix Controller did also work for the Matrix 6 and the Matrix 6 rack version. I used to own a Matrix 6 and this controller. It was working as fine as editing is possible on non rotary encoders. So be prepared for some parameter jumps when moving a knob.
I remember the filter cutoff knob was transmitted somehow by SysEx. And it took a while for the synth to act to it. So it was impossible to use the controller for real time filter sweeps.
I can't remember what you had to do to tell the Programmer if you are working on a Matrix 6 (keyb. or rack version) or a Matrix 1000. There was a certain bottom combination needed.
You could lock the knobs in order not to change (=jump) a sound into nirvana while playing. This lock modus was also the default when turing the unit on.
I own now the MicroWave version for my MicroWave plus WaveSlave. Works fine !
But it is not better then good new controller boxes. But it does look way better then those plastic ones of today."

"The modulation matrix is not handled at all.

Back in time the company was named Access Midi Tools, they even showed a prototype at Frankfurt of the PG-X in 1996, a universal hardware programmer, at the TSI/Waldorf booth. This never made it into production, to much units to support, look what happened to Polyframe/SoundDiver.

Have a look here for more info (German only).

There is a Review at SOS about both Programmers:

I have them both, just for the cool look ;-) There are some little issues with the Matrix one (not just on mine, it is a generic issue) on the sustain of the filter envelope, I allways planned to check if the programmer is sending stupid data or if the M1000 is causing the fault.

As Till pointed out, there is some steppyness with the Matrix, but this is just the slow reception in the synth.

It is quite fine with the MicroWave, which is able to eat lots of SysEx without any problem.

Georg."

Update via cornutt in the comments:
"I am the author of M1000X, the Matrix 6/6R/1000 patch editor for OSX. So I'm pretty familiar with the MIDI implementations of these boxes. Here's what I have found out about them:

The Matrix-6/6R MIDI implementation was only about half finished, and it has a critical bug. The two biggest problems with it are:

1. Some of the parameters allow both positive and negative numbers, but the M6 won't accept a negative value in a MIDI single parameter message. So, if any paraemter needs to be set to a negative value, the entire patch has to be sent to the box. And the M6 doesn't allow the patch-load message to write to the edit buffer; it has to be written directly to the patch memory. Not only is this slow, but it also means that the edit can't be undone (unless the external editor remembers it).

2. The M6 has no MIDI mesages for updating the routing matrix. As in the case above, the only way to do it is to write the entire patch to patch memory.

They fixed a lot of the MIDI problems on the Matrix-1000. It supports all legal values in MIDI single parameter messages. There is no reason why an M1000 can't do a real-time filter sweep if the external editor handles it properly. The only thing that was botched on the M1000 is that it does not remember patch names. That was probably done because the M1000 itself can't display them, but IHMO it still should have stored them in order to support external editors, and also patch interchange with the M6.

The other thing that strikes me abou the Access box is that it doesn't appear to have nearly enough controls to edit all of the parameters that a Matrix-6 or 1000 patch supports, even leaving out the routing matrix. Where, for example, are the knobs for adjusting the tracking generator break points, or the buttons for setting the zillions of possible envelope modes? Anyway, thanks for publishing this; it was an interesting look back into history. And I hope my comments were helpful."

HEINA KROON POSITRON 16 - Morphing Analog Concept Polysynth

video by Heinakroon Overlays & Accessories

via HEINA KROON

"Note: this synthesizer concept is a personal design and not associated with Behringer or MUSIC Tribe Global Brands Ltd

POSITRON 16 is an analog polyphonic synthesizer concept that focus on morphing, with continuously variable waveforms, filter modes, arpeggiator patterns and more.

It features plenty of hands-on controls, from the three wheels, the Morpher joystick and a fullwidth ribbon controller to polyphonic aftertouch, macro controls, dual pedal inputs and even a CV antenna socket. This will make sure you are always in control of your sounds and performances even during improvisations, and the intuitive LED-collar encoders with push button function make creative sound programming a breeze.

CLICK FOR MORE »

New Motas-6 Demo Videos

Published on Jun 21, 2018 MotasSynth

"Demo#6 of Motas-6.
The new MotasEdit software plugin is running within Ableton and a repeated simple bar of notes is playing (Motas-6 is connected via USB MIDI).
Parameter changes on the Motas-6 hardware are sent to the plugin/DAW (and likewise changes in the DAW/plugin are sent to Motas-6).

I play with various Motas-6 parameters including the analogue phase modulation, analogue noise and internal feedback (which comes from the audio output before the final volume control) to the pre-filter mixer."

CLICK FOR MORE »

Korg Poly 800 with Mods

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"Up for your consideration is a fully functional Korg Poly 800 synthesizer with several modifications that enhance the functionality and make this unit a fine candidate for the central piece to your music production environment. Modifications were professionally installed by experienced and skilled hands and are described below. I've modified a good handful of these and this particular machine is in the best cosmetic condition I have ever seen. Absolutely like-new!! Original Korg power supply included.

(From circuitbenders.co.uk)

The Korg Poly800 and its rackmount / tabletop cousin the EX800 are odd beasts. They came from that strange era of Korg synths where they couldn't seem to decide between analogue and digital, and so came up with a selection of hybrid synths that didn't seem to excel as either sound. On paper the Poly800 was a pretty well endowed machine but in reality it always sounded a little thin and never really fulfilled its potential, which is where we step in with our Polybeast mods!

FILTER MODS:

Cutoff & Resonance Knobs: This mod can be found around the net under several different names (Moog Slayer Mod) and versions but essentially it adds knob controls for the filter cutoff and resonance parameters for realtime control. The resonance knob can take the resonance well into self oscillation and far beyond what is programmable from the front panel. This can produce the kind of screaming top end and subsonic bass that gives these machines a whole new range of sonic possibilities. The filter cutoff knob allows you to perform long filter sweeps for those squidgy burbling analogue lines that you knew your Korg was capable of but could never actually program. Both parameters are still also controlled by the normal programming methods which can set the range of the knobs control.

12dB / 24dB Filter Response Switch: Somewhat mysteriously the filter chip used in these machines has both 12dB/Oct and 24dB/Oct outputs but only the 24dB one is actually used. This mod adds a switch to select either a 24dB or less drastic 12dB filter response

VCF CV input: This socket round the back of the machine adds an external 0-5v control voltage input that controls the filter cutoff. The new filter cutoff control knob is disabled when a jack is plugged into the socket.

AUDIO MODS:

External Audio Input: This accepts a line level audio signal and inserts it before the filter and chorus effect so you can use it to process external signals. The input is set up so that a loud signal will slightly overdrive the filter for a dirty sound.

External Audio Path Switch: This switch sends the audio from the external input either via the DCO1 or DCO2 signal path or turns it off completely. The input doesn't respond to the DEG audio level envelopes but instead is gated on and off by the noise gate that korg implemented to silence the synth when all the envelopes are completely closed. i.e. when the DEG envelope for the chosen path closes completely at the end of the release phase, the noise gate is activated and the external audio input is cut. The audio input is still effected by the filter envelope.
An external input can easily be filtered without having to hold down a note by setting up a patch with all the oscillator tones turned off, but the DCO 'level' parameter set to full. If you use the note 'Hold' function and press a key the audio input will be audible and can be processed with the filter etc.

Input Level Knob: Its a knob that controls the level of the audio input. What more can we say?

FM MOD:

Essentially VCF FM allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters & sweeps. This effect works best with the resonance cranked up into self oscillation which is where the new resonance knob mod comes into its own. The audio input takes its signal from before the input level knob so you can use the audio to modulate the filter cutoff but remove the actual audio signal from the mix.

Also installed is a brand new internal memory battery to keep this machine running for years and years without losing your presets!"

CLICK FOR MORE »

Stan Lunetta's Moosack Machine (1970)

via this electro-music.com thread:

"Stanley Lunetta
Moosack Machine
March 7 - April 19, 1970

The moosack machine is a sculpture that produces, mixes and processes electronic sound. In the present version, the machine routes these sounds to four speakers placed in four corners of a room, and also to an audio transducer contained in the sculpture in the center of the room.

The moosack machine has two parts. The first, completely contained in the sculpture, consists of four variable oscilators, two power regulators, and a large number of input sensors. The input sensors detect changes in light, temperature, wind direction ands well as movements of people around the sculpture. These components are assembled as a sculpture, using the resistors, capacitors wires, etc. for their appearance as well as for their various electronic functions.

The second part of the moosack machine contains four mixers, the fixed oscillator/frequency divider unit, the relay box, the digital logic system, plus filters, phase shifters and reverb/tape-echo units.

The variable oscillators, controlled by the input sensors produce constantly changing output signals; e.g., continuously variable sweeps and/or disjunct leaps in either direction, amplitude, and time-event changes, and off/on functions. The output of each variable oscillator is mixed with one of the outputs from the fixed ocillator/frequency-divider unit and is sent to the digital logic system.

The digital logic system consists of a 16-bit digital counter/decoder, modified to have four inputs and eight outputs. Each output will function only when the inputs are in specific states. For example, output X1 will function only when the outputs of oscillators A, B and D are positive, and oscillator C is negative. Further, the four fixed oscillator/frequency-divider outputs (A,B,C,D) must also be positive-positive-negative-positive, if the output is to function. The fixed oscillator/frequency-divider unit moves from positive to negative at a very slow rate, changing its state one to three times per minute. Thus, the output of the digital unit consists of the relationships between variable and fixed oscillators.

Through the relay box, the four outputs of the digital unit have control over the on/off functions of the electric motors in the sculpture, turning the "cut-out wheels" and affecting the light-sensitive input sensors. There are also photo-cells that override the X outputs, turning off the relays.

The four Y outputs of the digital unit are used as audio outputs and are, of course, square waves. Thses outputs are either filtered, phase shifted, sent throuogh reverb/tape-echo units or frequency divided. The resulting sounds are then heard through the four amplifier/speaker channels. The fifth channel, a transducer in the sculpture itself, is taken from one of the mixers before the signal is sent to the digital logic system. Ideally. the moosack machine should be activated in the morning and allowed to play through the afternoon. The only human control over the moosack machine is the on/off switch. The recording in this issue was not edited or "composed" in any way. The moosack machine was allowed to play for 23 minutes. The record contains activities from the third to the eighteenth minute.

P. 46"

Polybeast Modified KORG POLY800 mkII

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

Videos at the auction previously posted here.

"FILTER MODS:

Cutoff & Resonance Knobs: The new resonance knob can take the resonance well into self oscillation and far beyond what is normally programmable from the front panel. This can produce the kind of screaming top end and subsonic bass that gives these machines a whole new range of sonic possibilities. The filter cutoff knob allows you to perform long filter sweeps for those squidgy burbling analogue lines that you could never actually perform on a poly800 before now. Both parameters are still also controlled by the normal programming methods which can set the range of the knobs control.

12dB / 24dB Filter Response Switch: Somewhat mysteriously the filter chip used in these machines has both 12dB/Oct and 24dB/Oct outputs but only the 24dB one is actually used. This mod adds a switch to select either a 24dB or less drastic 12dB filter response

VCF CV input: This socket round the back of the machine adds an external 0 to 5v control voltage input that controls the filter cutoff. The new filter cutoff control knob is disabled when a jack is plugged into the socket.

AUDIO INPUT MODS:

External Audio Input: This accepts a line level audio signal and inserts it before the filter and delay effect so you can use it to process external signals. The input is set up so that when its turned up full, a loud signal will slightly overdrive the filter for a dirty sound.

External Audio Path Switch: This switch sends the audio from the external input either via the DCO1 or DCO2 signal path or turns it off completely. The audio input is not effected by the envelopes other than being gated on and off with key presses.

Input Level Knob: Its a knob that controls the level of the audio input. What more can we say?

FM MOD'S:

These consist of a source selection knob and an FM amount knob. Essentially VCF FM allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters & sweeps. This effect works best with the resonance cranked up into self oscillation which is where the new resonance knob mod comes into its own. The source selection knob allows you to select one of four sources for the FM signal. These are DCO1, DCO2, Noise and audio input. The audio input takes its signal from before the input level knob so you can use the audio to modulate the filter cutoff but remove the actual audio signal from the mix. The source knob also has an off setting.

FX MOD'S:

Delay Feedback Knob: Controls the amount of delay feedback from a couple of repeats to a maximum well over 100% for those building dub delay effects that get louder and louder before finally decaying into a mess of distortion. This control works relative to the actual delay feedback setting parameter programmed with the sound.

Delay Time Knob: Unsurprisingly this controls the delay time but can also be used in conjunction with the feedback knob to create surges of sound or in realtime to create swept echos and loops as with any analogue delay. Again, this control works relative to the actual delay time setting parameter programmed with the sound.

DATA ENTRY KNOB:

This mod adds an endless rotary switch that does the same job as the UP/DOWN data entry buttons on the front panel. Turning the knob changes a parameters value so you don't end up continuously stabbing at the buttons, although they do still work if you want to use them. The knob has 20 clicks per 360 degree rotation, so it takes 5 full rotations to take the value of a parameter from 0 to 99. Normally we would use a standard rotary encoder for this, but on this machine we have used a very high quality endless rotary switch which feels a lot more solid.

We have also replaced the memory backup battery with a brand new one in a proper battery holder, so it should keep the memory alive for at least another 20 odd years!

This synth still produces all the normal Poly800 mkII sounds as well as a vastly extended sonic range. Below is a couple of Youtube demos of the mods on another poly800 mkII, using the onboard sequencer and processing external drums. Theres also some Soundcloud demos of a Poly800 mkI with the same 'polybeast' mods. The mkII can produce all the sounds from a mkI, and more."

Two New Modules from Bubblesound Instruments

via Bubblesound Instruments

First up we have the SeM20st.

The SeM20st is a stereo version of the first module bubblesound put out, the SeM20. It has become one of the classic filters in the EurorackWorld.The SeM20st is the most versatile analog stereo filter on the market today.

The inputs on the Left side are all normalized to the Right, so one input can be turned into a stereo signal.There is an Offset for the Left Cutoff, this allows a wider stereo field and is especially useful if the input is coming from a mono source.The CV inputs on the Left can also control the Cutoff and Resonance of the Right side.The Right side CV Cutoff pot is an attenuvertor, when it's at noon it's off, turn clockwise from noon the pot acts like a normal attenuator, gradually adding the CV to the Cutoff.When it's turned counter-clockwise from noon the CV is inverted, acting like an inverted ADSR.This can be used with a single LFO into the Left Cutoff CV to create a sort of ping-pong with the 2 sides, as the Cutoff goes up on one side it goes down on the other.

The Resonance section is exactly the same as in the SeM20, but with the Stereo version the Resonance is controlled by a VCA, allowing for CV control of the Resonance.The Resonance CV will work with either an LFO or an Envelope.

Outputs: Channel has 4 outputs available:
Low, Band, High and Notch Passes.
The Notch Balance pot sweeps from Low Pass to High Pass and can produce some really nice phasing.

width: 10HP

current draw: +45mA -35mA depth: 35MM

Next we have the SpringVerb

The SpringVerb is a classic analog Spring Reverb Driver with a few extras.

The input signal goes into a state variable filter that is capable of self-oscillation.Then the filtered signal goes to the reverb driver, into the tank and back to a Voltage Controlled Crossfader for a CV-able Wet/Dry.The switch under the filter select switch determines what goes into the "Dry" side of the Crossfader. It can either be pre or post filter.

There is a Voltage Controlled Feedback section as well as CV for the Cutoff Frequency and the Resonance of the filter section.

The Feedback does exactly what it says, it feeds the Post Tank signal back into the input section. It can go from very subtile to guitar and amp style feedback.

The Filter is very similiar to the SeM20, so the Resonance is aggressive.The input can be overdriven a little, depending on what the input is. Unlike the SeM20 it doesn’t really clip, but just like the SeM20 when the input is low and the Resonance is high most of what comes out is Sine waves.

Outputs: Filtered, Reverb Only and Mix

Tank:The SpringVerb comes with a medium decay, 3 spring tank and is compatible with many others.

width: 10hp

current draw: +43mA. -30mA

depth - 45MM with RCA cables plugged in

An interview with James A. Moorer

This one sent in via fabio. You can find the full interview on Unidentified Sound Object. The below in quotes is some background info on James A. Moorer followed by a snip on how he used ASP for synthesis on Indiana Jones and the Temple of the Doom. Note the following is only an excerpt for the archives should the interview disappear. If you want to cut to the chase, just click through the above link for the full interview.

Image via James A. Moorer's personal website.

Background info for the interview.
"Matteo Milani had the pleasure of interviewing James A. Moorer, an internationally-known figure in digital audio and computer music, with over 40 technical publications and four patents to his credit. He personally designed and wrote much of the advanced DSP algorithms for the Sonic Solutions "NoNOISE" process which is used to restore vintage recordings for CD remastering.
Between 1980 and 1987, while Vice-President of Research and Development at Lucasfilm's The Droid Works, he designed the Audio Signal Processor (ASP) which was used in the production of sound tracks for Return of the Jedi, Indiana Jones and the Temple of Doom, and others.
Between 1977 and 1979, he was a researcher and the Scientific Advisor to IRCAM in Paris.
In the mid-seventies he was Co-Director and Co-Founder of the Stanford Center for Computer Research in Music and Acoustics. He received his PhD in Computer Science from Stanford University in 1975.
In 1991, he won the Audio Engineering Society Silver award for lifetime achievement. In 1996, he won an Emmy Award for Technical Achievement with his partners, Robert J. Doris and Mary C. Sauer for Sonic Solutions "NoNOISE" for Noise Reduction on Television Broadcast Sound Tracks. In 1999, he won an Academy of Motion Picture Arts and Sciences Scientific and Engineering Award for his pioneering work in the design of digital signal processing and its application to audio editing for film. He is currently working at Adobe Systems as Senior Computer Scientist in the DVD team."

snip from the interview:
"MM: Can you talk about the synthesized arrows in Indiana Jones and the Temple of the Doom?

JM: This was done by linear prediction. Ben had recorded the sounds of arrows going by, but they were too fast. I took 100 ms from the middle of one of those sounds and created a filter of order 150 from it. When driven by white noise, it made the same noise as the arrow, but continuing forever. He then put that sound in the doppler program to produce the sounds of the arrows flying by.

In addition to being a numbers prodigy, ASP is quite garrulous. It can synthesize speech, the sounds of musical instruments, and even special effects by the same mathematical techniques. In Indiana Jones, for example, there is a hang-onto-your-seat scene in which Jones and his pals, while dangling precariously from a rope bridge slung across a deep chasm, come under attack by a band of archers. Lucasfilm technicians had recorded the sound of a flying arrow in a studio, but they discovered that the whistling noise did not last long enough to match the flight of the arrow on the film.
ASP came to the rescue. Moorer copied 25 milliseconds from the middle of the one-and-a-half-second recording and spliced the duplicate sounds to both ends, all electronically. Then he manipulated the arrow's noise so that it faded as the missile moved from left to right across the screen. To ensure total accuracy, Moorer even used ASP to include a Doppler shift - the change in pitch from high to low heard when an object sweeps rapidly past. Thus, as the arrow flies by actor Harrison Ford's head the audience hears a subtle change of frequency in its noise. In this way the sound track dramatically increases the audience's sense of the hero's peril.
[excerpt from Discover Magazine, August 1984]"

Update via SteveL in the comments: "I had the pleasure of working with Andy Moorer while I was as a junior sales and QA engineer at Sonic Solutions from 1993-1996 during their peak years in the audio editing market. Andy is truly one of the legends of electronic music, a smart businessperson, and all around great guy. His development of NoNoise was groundbreaking at the time, and we also developed a fiber optic shared audio networking platform that was many years ahead of its time with features like bandwidth reservation. I will never forget figuring out that he was one of the people behind FM Synthesis- I told him I was fond of those old Yamaha TX-81Zs and he said 'I think I have a copy of the patent in my drawer'"

Korg EX-800 Polyphonic Synth in Excellent Condition w/ Circuitbenders Polybeast Mod

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

CLICK FOR MORE »

Generative Study 1

Published on Nov 10, 2016 voltlife

"An experiment in structured generative patching, bringing some larger-scale structure to a completely self-running patch. There are several distinct "movements" that have subtle differences between them, as well as the melodic and timbral variations that come from the interplay of random and sequenced elements.

The rhythmic and structural core of the track comes from an A143-4 and a Pittsburgh Sequencer. One A143-4 LFO acts as a clock, and another much slower one speeds the clock up and down, from low audio rates down to one beat every couple of seconds. The square out from that second LFO clocks the Sequencer, so that it gets a different value each time the main clock comes down from audio rates. The slow LFO outputs are multed to several other modules, allowing other parameters to depend on the speed of the clock.

The audio core of the patch is a Rubicon/Dixie II/uFold combo, acting as a classic Buchla-esque complex VCO. The Dixie sine FMs the Rubicon, the output of which goes through a VCA. One Maths envelope opens the VCA, with the fall time lengthening as the clock slows. Another exponential Maths envelope drives both the TZFM index and the Symmetry of the Rubicon: this allows the attack to make the most of the richer TZFM while sacrificing tuning, while the tail comes back into tune. The fall time of this envelope is modulated by yet another A143-4 LFO, and depending upon this and the pitch, the Rubicon's sounds vary from bells and chirps to deep drums and woody bass notes.

Dixie's triangle output goes through uFold into Optomix. A division of the main clock goes through Branches into the Optomix strike input, and Branches' probability is modulated by the main clock speed, so that in the slower passages we hear occasional plucks from the wavefolded Dixie. A ViLFO goes through a VCA into the Optomix Control input, and a Pitts Sequencer opens that VCA. This adds slower swells during some "movements": exactly the same audio source as the plucks, but these sound a bit like solo strings.

The melodic content comes from a Moskwa sequence through a VCA, which is CVed by a Verbos Multistage clocked at /8 of the main clock. This varies the range of the melodic CV. The CV is then quantised to a minor scale by an A156, then is distributed by an A185-2 to the Rubicon and Dixie to keep them in tune. Another clock division goes through Branches to Moskwa's direction input, bringing further melodic variation.

Finally, there's a graunchy sci-fi noise that come in during the slowest parts of some movements. This is a Pittsburgh GenXpander's OE output through a Pittsburgh Filter in Bandpass mode into a VCA and then a Wow & Flutter. The VCA is only opened when the main pitch is mostly static, thus giving a textural counterpoint when the main sequence gets too boring. This works by feeding the main pitch CV into an Elby Slope Detector, whose output goes into Function with a slow rise time and sharp fall. The Function output then goes into a Z4000 envelope. Thus, the envelope is only triggered when the pitch has been static for long enough. This envelope then opens the VCA as well as driving the cutoff frequency to create a noisy sweep. Finally, the Pitts Sequencer also controls an A152 which sites between the Slope Detector and Function: when the Sequencer value is beyond a certain point, it cuts off the CV to Function. This means that the noise sweeps can only occur when the string-like Dixie swells are absent or quite, bringing further variation between the movements."

Pittsburg Modular Officially Introduces Lifeforms Eurorack Systems

"Introducing Lifeforms Eurorack Systems
Our best sounding synthesizer yet, Lifeforms systems are available in three configurations. System 101, System 201, and System 301 are the perfect gateway to the eurorack modular synthesizer world.

Interactive inspiration machines. The next generation of our System line of eurorack synthesizers harnesses the power of the new Lifeforms modules and Structure enclosures. Designed around the Lifeforms SV-1 modular analog synthesizer voice and anchored by the classic Pittsburgh Modular filter and two full range analog oscillators packed with harmonically rich waveforms, the Lifeforms Systems offer a rich sound palette with the flexibility of an open, fully patchable analog voice architecture.

The System 201 and System 301 also include the Lifeforms KB-1 pressure sensitive keyboard controller. The pressure sensitive keyboard maximizes the creative process with arpeggios, sequences, triggers, voltage memory, and more. More information on the entire Lifeforms line is available at lifeformsmodular.com.

Evolution of the Synthesizer Voice
The Lifeforms SV-1 is a fully patchable synthesizer module, destined to be the heart and soul of any eurorack modular system. It features two independent, full-range analog oscillators, and the unmistakeable sound of the Pittsburgh Modular filter paired with a highly curated set of modular tools designed to fuel the creative fire. More information on the Lifeforms SV-1 is available at lifeformsmodular.com/sv-1.

Control At Your Fingertips
Shape music like never before with the Pittsburgh Modular Lifeforms KB-1 pressure sensitive controller. The Lifeforms KB-1 eurorack module provides a multi-function, expressive, capacitive touch keyboard designed for performance. It contains a powerful one octave pressure sensitive keyboard complete with arpeggiator, step sequencer, preset voltage memory array, and a pair of multi-mode trigger pads. Eleven patchable outputs and a deep feature set enable an unprecedented level of control over any eurorack system. More information on the Lifeforms KB-1 is available a lifeformsmodular.com/kb-1."

Lifeforms SV-1
Analog Modular Synthesizer
Suggested Retail Price $699

"The Heart and Soul of Modular Synthesis
The Pittsburgh Modular Synthesizers Lifeforms SV-1 is a complete dual oscillator synthesizer, designed to be the core of your eurorack modular system. Building on the sound and legacy of our celebrated Waveforms oscillator, the SV-1 module features two full-range independent analog oscillators; sound sources that are perfect for dynamic and inspired performances. In addition to these two high-performance oscillators, we stuffed the SV-1 with a perfectly curated set of modular synthesis tools including dual, chained mixers, a plucky, four stage envelope generator, and of course, our legendary analog state-variable filter.

The Lifeforms SV-1 is a synthesizer powerhouse, providing absolutely everything you need to create gigantic and iconic synth sounds: roaring bass, shimmering leads, lush pads and warm drones are only a few knob turns away. Instantly, out of the box, a rich feature set with a fluid, easy to understand interface empowers you to create vibrant, thick tones. Modulation and Tools sections fill out the analog SV-1 modulation capabilities with a triangle and square LFO, two sub-octave oscillators chained to the main oscillator, and noise with sample & hold.

Your Sound, Your Way
Pre-patched under the hood, patch cables are not necessary to get started. But as soon as you begin patching, you will feel the power provided by the 53 patch points and 21 knobs. By breaking each feature of the synthesizer out with patch cables, a tremendous amount of flexibility and control emerges to patch up any sound your imagination can dream up. All the tried and true analog classics are there at your disposal: sine, sawtooth, triangle and square. In addition, our exclusive and powerful blade wave on Oscillator 1 adds a unique weapon to your sonic arsenal. Deep modulation options award you complex control of nearly every function of the SV-1.

A Team Player
We’ve designed the Lifeforms SV-1 to be the perfect centerpiece of any eurorack synthesizer regardless of size. In a smaller system, the SV-1 provides a wide variety of synthesis options through a hefty set of synthesis tools. Combined with a larger collection of modules, you can unlock never-before-heard expressiveness and unparalleled control over the rich feature set of the SV-1. The ability to patch and integrate the SV-1 with other existing eurorack compatible gear gives you truly infinite modulation and expansion options.

Integrated Synthesizer Components

MIDI
We started with the core of our rock solid MIDI 3 module then modified the source code to create a feature set specifically designed for the SV-1. This MIDI to CV converter enables you to connect all your MIDI-compatible gear and convert it to control voltage right inside the SV-1. Volt per octave and gate outputs allow you to connect to your MIDI keyboard or DAW and take control of the SV-1 your way.

Extensive patch options give you access to glide, CC, and velocity. A digital clock-syncable LFO with triangle and quantized random voltage waveforms provides even more modulation options. A clock input allows you to override the internal or MIDI clock and sync to external CV and gate clock signals. A built-in arpeggiator provides all of the deep arpeggio responses from the MIDI 3, including as played, double triggered, random, and random with random gate. This unlocks another level of playability and the capacity to create complex and fresh musical patterns out of just a few notes.

Oscillator 1 and Oscillator 2
Our next-generation dual analog oscillator provides the sonic framework for massive synth sounds or deep exploration of west coast style frequency modulation. Sine, triangle, saw, and square waves are at your control, all available to modulate via FM and hard sync. As a bonus, Oscillator 1 also contains our unique blade wave. The shape of the blade wave can be controlled using the width CV input, creating a sweeping or chorusing effect. Oscillator 2 is normalled to the FM of Oscillator 1, providing jaw-dropping analog FM bass, deep percussive hits, searing leads, and thick, warm analog pads which all come to life from these two modern, organic sounding oscillators. Both analog oscillators dip well below audio rate, allowing them to function as voltage controllable LFOs.

Modulation and Tools
A wide-range utility LFO with triangle and square wave outputs is ideal for VCA or Filter frequency sweeps. Or, turn it up and release the dynamic FM capabilities of either oscillator. A Tools section provides access to two sub-octave oscillators, derived from Oscillator 1’s core frequency. Analog noise and sample & hold finish out the Tools section — the hold function is initially pre-wired to MIDI clock, and equips you to create perfectly timed, random voltage steps.

Mixer
This versatile four channel mixer comes pre-wired for fast access to Oscillator 1’s sine, saw, pulse and sub. However, you are just a patch cable away from instantly making your own unique blend of waveforms from the SV-1. The mixer can be split into two independent two channel mixers simply by patching into the top output.

State Variable Filter
Rich and thick, the sound of the revered Pittsburgh Modular Filter is unmistakable. Absolutely stunning harmonic character with voltage control over the entire frequency range. A provided attenuverter lets you dial in exactly how much CV to feed the frequency input, even inverting the input for dramatic changes in modulation. Separate highpass, lowpass, and bandpass outputs are provided as breakout options, each with their own powerful sonic timbres. Turn up the resonance for an added growl, giving your tones an aggressive edge that no softsynth can match.

Four Stage Envelope Generator
Designed specifically for the Lifeforms SV-1 with a plucky, organic feel, our four-stage analog ADSR allows you to generate envelopes with remarkable, precise control over each stage. Pre-patched to receive gate signals directly from MIDI, the gate input may be overridden by any available clock, trigger, or square wave source.

Voltage Controlled Amplifier
The amplifier section not only controls the overall level of the output, but is voltage controllable. A clean, responsive VCA, capable of everything from transparent control to mild overdrive contours audio or CV signals. The ADSR is pre-patched to the level CV providing shape to the synthesizer audio.

Splitters
Two unbuffered audio or CV splitter sections allow you duplicate your signal in creative ways, routing a single audio or CV source to multiple destinations.

Line Level and Headphone Outputs
High quality stereo headphone amplifier and monophonic line level outputs controlled by a master volume knob.

User Manual
Coming soon...

Module Specifications
Panel size 48hp | Depth 35mm | Power consumption 230mA with reversed power polarity protection"

Lifeforms KB-1
Pressure Sensitive Keyboard Controller
Suggested Retail Price $499

"Take Control
Shape your music like never before with the new Lifeforms KB-1; a unique and intuitive set of tools designed for controlling your eurorack modular system. The Lifeforms KB-1 provides a multi-function, expressive, capacitive touch keyboard designed for performance. The KB-1 contains a powerful one octave adjustable, pressure sensitive keyboard complete with arpeggiator, step sequencer, four voltage memory pads and two trigger pads. Eleven outputs and a deep feature set enable you to explore new sonic territory with an unprecedented level of control.

Monophonic and Duophonic response modes with user-selectable note priority and retrigger options let you customize the KB-1 specifically to your needs. Octave buttons provide quick selection of one of seven available octaves for a wide sonic range. Monophonic mode allows you to perform soaring leads, buttery basslines with legato, or classic arpeggios. Or, take control of two separate oscillators in Duophonic mode to create rich soundscapes, complex drones and arps, lush pads, and thundering bass.

Easily program melodic sequences with maximum flexibility. Along with immersive keyboard features, there is also a powerful ten note arpeggiator and sixty-four note sequencer, each focused around playability, empowering you to craft inspiring melodies, or utilize the stepped voltage as control for other parameters, such as filter frequency or VCA control.

The Next Step
The Lifeforms KB-1 features a playable, ten note arpeggiator. This robust arpeggiator can cycle through one to three octaves. The arpeggiator in the Lifeforms KB-1 contains three different arpeggiator modes, including single or double note trigger, and random monophonic or duophonic note cycling with random gates . Probability gate burst mode can trigger additional random gates to add complexity to arpeggios. This feature, unique to the Lifeforms KB-1, enables you to have rolling pulses divided by the clock source, allowing for dramatic rhythmic variations of your sequence.

A feature-packed sixty-four step sequencer with multiple play modes gives you precise control over the cycling of your sequence. Sequences can be played forward, reverse, or random. Sequences are quickly created by step programming and each step can have one of six step modifiers: pitch bend, tie, single trigger, double trigger, quad trigger, and whole note. Once the sequence is complete, the first note of a sequence can be shifted back or forward, resulting in generating new sequences out of your initial performance. Probability gate burst mode is also available to sequences adding realtime complexity to a performance.

Express Yourself
The two assignable trigger buttons enable you to unleash your creative potential in new ways. Trigger 1 and trigger 2 can be independently assigned to one of six different trigger button modes including pressure sensitive pitch bend, gate, latch enable/disable, trigger, pressure sensitive trigger burst generator, and a pressure sensitive clock divider.

Preset Voltage Memories
The programmable voltage memory section can function as a four channel sequencer, cycling forward, reverse, or randomly; or the active channel can be selected manually allowing the section to function as a 4 channel voltage memory. Voltages are unquantized analog voltages between 0 and 5 volts. Multiple clocking options are available to drive the preset voltage memory sequencer.

On the Beat
The Lifeforms KB-1 can be clocked internally via tap tempo or from an external clock source such as a sequencer, square wave, trigger, or clock divider. This allows you to either play on your own, or perform locked in time with external devices.

User Manual
Coming soon...

Module Specifications
Panel size 42hp | Depth 38mm | Power consumption 160mA with reversed power polarity protection"