Thursday, January 03, 2008
Cube Quest Update
There are links to some good videos of the game at the bottom of the previous post.
Tenori-on as a controller for Analog Drums and Synthesizers
YouTube via pepemogt.
"Here is a jam with the tenori-on as Midi-CV-Gate controller for Analogue Solutions tr-808 and tr-909 drums, the EML modular synth, Drumulator and Oberheim Xpander.
it is just live improvisation, out of tune riffs and offbeats included ;) enjoy! http://www.myspace.com/latinsizer"
NEW ORDER Blue Monday Live Australia 1982
YouTube via PlastikOD. I see an ARP Quadra and a Prophet-5. I forget when the Voyetra Eight came in. Someone get micke. :)
"NEW ORDER Live in Australia, Melbourne (Seaview Ballroom, 27. November 1982) Poor quality (it's from an 25 year old videocassette). "
Update via ross in the comments: "my friend video taped this. it was the first time they played B M live "
Update via David Bulog on AH: "The info is wrong--thats the second time or third time they played Blue Monday They played Blue Monday at a club in Auckland NZ a week before for the first time---I was at the concert That really was the birth of alternative electronic dance music-- right at that moment"
Mindburner Prophet 5 demo song
YouTube via waheex
"A demo of a new song I wrote under the name Mindburner featuring my recently midi'd prophet 5. Not a great vid but my first youtube effort."
Bananalogue Serge VCS
images via this auction"The Serge VCS module from bananalogue.com is an extremely versatile control voltage generator and audio source. In the early 1970s, Serge Tcherepnin developed the Positive Slew and Negative Slew modules for the original Serge synthesizer. In time these merged into the classic Dual Universal Slope Generator. The Bananalogue VCS is an adaptation of Serge's original circuit with a few new features."
A Trigger input. Trigger fires envelope, gate sustains levelB Input.
C Cycle switch. Connects "End Out" to "Trigger"
D AC Out. AC coupled output.
E Output LED
F Output.
G Both. VC control both Rise and Fall
H Exp CV. Approximately 1V/Oct scaled input.
I Rise knob. Manual control of rise time.
J End Out. Outputs a trigger pulse when the envelope completes a cycle.
K Fall knob. Manual control of fall time.
L VC Rise. Voltage control of Rise
M VC Rise Knob. Attenuates VC Rise amount. Pull the knob out for non-linear slopes.
N VC Fall. Voltage control of Fall
O VC Fall Knob. Attenuates VC Fall amount. Pull the knob out for non-linear slopes.
Roland SC-55 Remote Control
via this auctionI never knew these existed. Anyone confirm this is for the Roland Sound Canvas?
Hmm... Makes me wonder what more synths don't have this. A little remote sequencer and arp would be nice. :) The first thing that obviously comes to mind of course is cost, but... wasn't the Sound Canvas line relatively affordable?
Update: according to Zero and silent king in the comments this was for the Sound Brush MIDI filer/sequencer. You can find some more info on the SB55 on Sonic State.
Update via zontar in the comments:
"It's listed in the manual [on page 10] for the SC-55 as "HOW TO USE THE REMOTE CONTROL" and it appears identical as pictured. The lower portion is for the Sound Brush [transport controls] - they are "companion" units. But it IS also meant to control the SC-55.
see:
http://media.rolandus.com/manuals/SC-55_OM.pdf
[note: might require registration to access]"
More in the comments.
ARP Avatar
via this auction"The Arp Avatar is a synthesizer that lets the guitar player achieve a range of timbres and textures never before attainable on the electric guitar. The Avatar produces string, brass, reed and percussive instrument sounds, wind, rain, explosions, and other startling sound effects; stagerattling bass and super-synthesizer lead solos; plus dramatic combinations ofstraight or processed guitar with synthesizer. The sounds generated by the Avatar are controlled directly from your guitar and are responsive to a variety of playing techniques. At the heart of this process is the digital pitch extractor. The pitch extractor follows every nuance of the guitar signal, including finger bends, finger vibrato, hammer- downs and glissando. The pitch extraaor receives its signals from a specially-designed pickup which can be mounted on most solid-body electric guitars between the treble pickup and the bridge. This hexaphonic pickup transmits a completely separate signal for each string. The pickup connects to the main synthesizer console through a miniature connector. Each string is connected to its own low-noise preamplifier with adjustable gain so that each string can be perfectly balanced with the others. Each string also has its own fuzz circuit which permits clean fuzz. You can play a full chord without any string crossover, talk-back or distortion. The Avatar is also touch responsive. An envelope follower translates the strengh of the guitar signal into a control voltage that can be used to control dynamics. Adjustable trigger sensitivity allows the musician to set a minimum picking force necessary to trigger the synthesizer. When you play softly on the guitar, j ust the straight guitar sounds are produced. When the strings are picked harder, the synthesizer is activated and follows the pitch being played. LED status lights give you a visual representation of the trigger sensitivity. The control panel of the Avatar is human engineered in the Arp tradition. A logically arranged system of sliders and switches gives you quick access to every control function. Several other features add to the Avatar's performance flexibility. Mono performance and split-stereo studio outputs are available on the rear panel. In stereo, the E, A and D strings can be sent through one channel, while the G, B and E strings are sent through a second channel.
Systems interface jacks on the rear panel permit expansion of the Avatar with other Arp synthesizers. The Avatar also accepts a filter pedal, sustain switch and portamento switch, which allow foot control of various effects in live performance, including infinite sustain. Controls 1. VCO 1: Creates raw pitch. Sawtooth (brassy), square (hollow) and pulse (reedy) available. Pitch control sliders create variable vibrato and trill depth or sample/hold and envelope control. Pulse width controls create nasal, chorus or saxophone sounds. 2. VCO 2: Similar to VCO 1. Input for pedal-controlled preset intervals. Phase-sync switch slaves VCO 2 to VCO 1 for dramatic emphasis of harmonic series. Touch sensitive via envelope follower control. 3. LFO: Creates vibrato, trill, tremolo and repeat. Controls VCOs and VCF. Variable rate. 4. VCF: Adds, subtracts or emphasizes harmonics. Controllers include: pedal- controlled wah-wah; ADSR; sample/hold; LFO for tremolo; and envelope follower for touch responsive wah-wah. 5. HPF: Removes all low harmonics from sound to create thin textures. 6. ADSR, AR: Envelope generators that control articulation from percussive to lethargic. 7. S/H: Controls either VCOs or VCF for random patterns or rhythms. 8. Ring Modulator: Creates gongs, chimes or special ethereal effects. 9. Noise Generator: Used to create sounds of wind, surf, steam, bombs, trains, etc. 10. Guitar to VCF Switch: Processes guitar audio through VCF for polyphonic effects. 11. Portamento: Creates automatic glissando or- sliding sound between any Interval. Variable speed. 12. String Select Controls: Designates strings to "trigger" synthesizer; f.g., select low E only to control synthesizer snd play chords on remaining strings. 13. Trigger Sensitivity: Adjusts to each guitarist's playing style. 14. Hex Fuzz/Preamp Select Switch: Allows guitarist to choose clean sound with extended high frequency range or polyphonic "clean" fuzz."
AKAI EWI 3020 Wind Controller & 3020M Analog Synth
images via this auction
"The EWI3020 is a wind controller that lets you play naturally and with emotions. The EWI3020m is an analogue synthesizer module featuring warm, expressive sound.No keyboard instrument can match the ease and flexibility of our wind synthesizers. The Wind Controller: Recreating the playing style of woodwind instruments The EWI3020 responds precisely to the feeling of the player through breath, lip and touch sensors. Controls include pitch, volume, pulsewidth, vibrato and glide that infuse life into sound modules. Unlike keyboard-type controllers, the wind controller can provide a subtle, natural wind sound. Together with the EWI3020m or EWI3030m [digital] sound module, it puts at your command a versatile instrument with colourful sound and flexible styles. The Analogue Sound Module: Flexible expression and rich sound The EWI3020m is an analogue synthesizer featuring 2 VCOS, 1 VCF, 1 VCA and 2 EGs. It boasts the ability to realistically express a wide range of sounds, from subtle to powerful. The modulation function lets you combine any of seven modulation sources with any of 10 destinations, to add up to tremendous flexibility, There are also string and bassoon filters that help create natural string and woodwind sounds. What's more, the synthesizer comes with 50 preset banks with select sounds that you can use immediately just by connecting it with the EWI 3020 controller."
Wednesday, January 02, 2008
The Stribe
"The Stribe is an 8-channel multi-touch controller for music or video software.1024 individually-addressable LEDs provide animated visual feedback."
More info here. via tobsenteque.
videos below
Stribe 0.1 (xenome) proto, sorta
stribe 0.1 - prototype works
YouTubes via soundwidgets (click for more)
Johan Timman - Look Out For The Killer - Promotion Tour 1980
YouTube via JohanTimman. Sent my way via Boele of SCD.
"Look Out For The Killer, South Square Mall, Rotterdam, Netherlands (1980). Promotion Tour For V&D www.timmany.com"
Update: Sound of the Prophet-5 Rev 2 and Rev 3
click here for an update to the Rev 2 post. Clusterchord added some samples of the Rev 3 as well as a comparison of the two. Comments disabled in this post, to keep them on that post.
Laughing Fools Empire
YouTube via SynthKraft. www.synthkraft.de
"This is a little video I made for the very first release of a new track from my upcoming album. Synths used: Korg Electribe ESX, Korg Trident, Yamaha CS-15, Clavia NordModular"
Leo D e William P tocam Radioactivity
YouTube via uilames. Sent my way via W. Roland JP-8080 vocoder.
Beem - The Future
flickr by beemmusic.Click here for the full set.
I'll be playing with my Legos tonight.
Top shot: "Inspired by Arp Odyssey and Linn 9000 drum machine."
Bottom: "Inspired by Roland SH1000, Revox B77, and Linn 9000 drum machine."
Korg PS-900
flickr by JoelKiel82There are some great shots of synths in this set. Be sure to click through.
full size
Cube Quest
This is a slightly odd one. In the comments of the previous Ultravox post I mentioned a game I vaguely remember from the time that had sounds similar to the explosion sounds in the very beginning of Ultravox's Vienna. That game was called Cube Quest. I remember being awed by it at the time because one, it was 3D, two, it had some of the most beautiful visual effects for the time, and three, the audio was strange and far more impressive than any arcade game I played before it - both the audio system of the cabinet and the sound effects and music. Very synth oriented vs. just trying to emulate given sounds in the game.I ran a quick search for Cube Quest and found this site. The game came out in 1984. On the site there are some interesting samples and video. It was a laser disc based game, so I assumed the audio was previously recorded, which could be the case for some of it, but I also found schematics listed here. In the first set of schematics, you can clearly see pages on the "Sound Synthesizer." I'm curious if anyone knows what kind of synth engine this had as well as any info on recordings that could have been done on the laser disc. In the second set of schematics you can see a parts list for "Mother Sounds."
BTW, if you click through to the site, each thumbnail will bring up a larger shot if you click on it. It was a really trippy game. It kind of had the vibe of Tron meets Logan's Run. Really bizarre and diverse as you can see in some of these screens. I specifically remember getting to the plants section to the left. Gameplay was a bit like Tempest on steroids, where you had to shoot geometrical objects coming out of the vortex. As I said above the sound effects were very impressive at the time. I remember the 
explosions sounding like the intro drums of Ultravox's Vienna.
Update: videos, via kroffe in the comments. Embedding is disabled for these so here are the links:
http://youtube.com/watch?v=4p081CnHDHo
http://youtube.com/watch?v=ikFNUA6Be4U
http://youtube.com/watch?v=1EwERR1bgWs
Found this also:
http://www.brightcove.tv/title.jsp?title=292663199&channel=288075
Starcade episode #98 - check last segment at 20.40 ;)
Update via Kathy in the comments:
"I own the original laser disc that was used to make the image. I worried that it might go bad, so wanted it captured.
Parts of it can be played on a regular Laser Disc player,like the attract videos you see on YouTube, but to make the game work, the tunnel images (all made by Able Graphics, an old pioneer in the graphics field for TV commercials) are interleaved images of stepping through the tunnel, every other frame (or so) was played forward, and then the interleaved images were played in reverse (and recorded in reverse) and a "loop" could me played that made the tunnel seem to go on forever. If you watch that on a regular Laser Disc player, it is a jumble of forward and backward images that do not make sense, and is over in less than a few second. The program steps through the interleaved images on the disc in the right order (forward and back) to make an endless loop of that tunnel.
There was audio on the LD as well, but only game sounds from the hardware played during the game while in a tunnel. The audio you see in YouTube videos are from the "splash" videos (attract mode) that played when the game was idle.
Sorry for being anonymous, but the LD was a copyrighted item! :-)"
Encore Frequency Shifter
YouTube via stretta.
"For an ebay auction. A demonstration of the Encore Frequency Shifter processing a drum loop."
Per the previous post, stretta has more modules up for auction here.
Nord Modular Overview
YouTube via stretta.
"Created for an ebay auction. A summary of some of the features of the Nord Modular G2"
Stretta also has a ton of modules up for auction here.
Workspace and Environment: the deep element
click here for the full post on trash_audio."Favorite Hardware
It'd have to be my portable Doepfer cases. Well not the case itself, but what's inside. I'm a huge fan of Doepfer, Cwejman, Plan B and Livewire modules. These things have been around the world with me and kept me on constantly inspired. They have really changed the way I approach the processes of making music and sound design. I do love my Sherman Filterbank II and Juno 106 though. I really love all my gear. Its better than children. Yeah, I said it..."
Kamoni - Reconstructed Uno (Retrofitted Human Jungle DnB)
YouTube via kamoni.
"Kamoni plays some fresh new breaks.
Equipment:
• Ableton Live 7 Suite with the new drum racks
• Roland SPD-20
• 3 foot pedals
• Coffee"
Rhodes Polaris EPROM Code
"David writes, "pol_fw9.zip [28K] contains the 4 binary files for the four EPROMs for a Polaris. The firmware in the files is Rev 9. Each image gets programmed into its own 2764 EPROM and the put in the Polaris in the socket corresponding to the file name (e.g., Z10 into the socket labelled Z10, etc.).
"The current firmware version can be determined by pressing LF-D-2 and watching to see which of the numbered buttons flash. A common version of firmware in the field is '5' (i.e., the '5' button will flash)."
See also Chroma EPROM Code"
Click here for more info including the download on the excellent Rhodes Chroma Site.
"The current firmware version can be determined by pressing LF-D-2 and watching to see which of the numbered buttons flash. A common version of firmware in the field is '5' (i.e., the '5' button will flash)."
See also Chroma EPROM Code"
Click here for more info including the download on the excellent Rhodes Chroma Site.
TB-303 Space Trip 001
YouTube via RRKS69.
"A mellow Acid Track to start out the year. I should send it to the Discovery Channel. Not to worry Acid Reflux #007 is on the way. PEACE & CHEERS, RRKS"
BOSS SYB-3 BASS SYNTHESIZER DEMO
YouTube via kulten
"this is a small demo : BOSS BASS SYNTHESIZER, an analog modeling (DSP) synth packed in a compact pedal, made by BOSS (from ROLAND synths maker), here trigged by great little BOSS DR-110 drum machine : you can hear PWM and SAW waveforms, and WAVE SHAPE filters."
Roland Jupiter-4 Compuphonic
images via this auction"'The synth's oscillators are switchable between sawtooth, square and square with PWM waveforms. and include a sub-oscillator and noise generator. All 4 oscillators can be stacked together for a fat, monophonic sound. In the filter section, the Jupiter-4 offers a hi-pass VCF, as well as a resonant low-pass filter. There are two ADSR envelope generators - one for the VCF (invertable) and the other is for VCA. The LFO features sine, square and ramp up/down waveforms, with sample/hold. It can be routed to the VCO, VCF, VCA or PWM. The Chorus button doubles the fatness of the synth sounds...'
The Roland Jupiter 4 was an analog synthesizer manufactured between 1978 and 1981. It was notable as the company's first self-contained polyphonic synthesizer, and for containing digital control of analog circuits (termed "Compuphonic" by Roland), allowing for such features as programmable memories and voice assignment modes.
Priced at around US$2,000, it was cheaper than polyphonic machine from its competitors (such as the Sequential Circuits Prophet-5 and the Oberheim OB-X) however it did not sell well in comparison. (These poor fortunes were reversed on the release of its successor model in 1981, the popular Jupiter-8.)
The Jupiter 4's basic architecture was 4 identical voice cards, each with a VCO (with sub-oscillator), resonant low pass VCF (which could self-oscillate), and VCA. Modulation included an ADSR envelope and LFO. The LFO, routable to oscillator pitch, pulse width, filter cutoff and amplifier, was notable for being able to reach audio frequencies, allowing for crude FM and AM synthesis.
The Jupiter 4's two most distinctive features were provided by virtue of its "compuphonic" digital control of the four voice cards:
* An arpeggiator, with a choice of up, down, up/down, or random mode.
* Four voice assignment modes, which, as well as simple 1VCO-per-voice polyphony, included the ability to effect 4-VCO unison when one key was pressed, 2-VCOs per voice when two keys were pressed, and 1-VCO per voice when three or four keys were pressed.
The final signal path also included a simple high pass filter and a stereo chorus effect. The Jupiter 4 had 10 preset sounds and also featured 8 memory locations for user-created patches.
The Jupiter 4 Compuphonic (known to most of us as just the Jupiter 4) is a four-voice polyphonic synthesizer with an arpeggiator and a 49-note (C-C) keyboard. It has 8 user-programmable memory locations and 10 preset patches with names like "Piano" and "The Force". The buttons for patch changes are in the front of the keyboard, underneath the keys. Each voice consists of a single VCO with sawtooth, square, or square with Pulse Width Modulation (PWM) and a suboscillator that can be switched on or off. There is also a noise generator that can be switched on and off. Like the suboscillator, it has no level control.The Jupiter 4 can be put into mono mode which stacks all 4 oscillators on each note, creating a very thick, although monophonic, synth. The filter section consists of a high pass filter and a low pass resonant filter. The Jupiter 4 has two ADSR envelopes, one for the filter which can be inverted, and another for the VCA. It also has one LFO, switchable between sine, square, ramp up and ramp down waveforms. The LFO can be routed to the VCO, the VCF, the VCA, or PWM. Although some say that the LFO rate on the Jupiter 4 is the slowest of any production keyboard, it also can modulate up into the audio frequencies (around 100 hz), making it very flexible. Only the filter can be modulated by a sample and hold function of the LFO labeled as "VCF mod" in the filter section.
The Jupiter 4 has a built-in chorus, a single on/off switch labeled "ensemble". Its arpeggiator is a fixed range running the length of the keyboard. However, there is a click input to sync the arpeggiator to an outside source. The click input can also be used to trigger filter modulation. This input and a cv input for the VCF were the only interface available with the Jupiter 4. It has no keyboard cv/gate input. It is possible to overdrive the Jupiter 4's VCA. When you do this a little light comes on to let you know."
Tuesday, January 01, 2008
Something Metasonix This Way Comes
Just when you thought you've seen it all... :)via Dave:
"Eric Barbour, a.k.a. Metasonix, is up to no damn good again. I created art for Eric's TX-2 Butt Probe manual, and the graphics & manual for the TM-7 Scrotum Smasher. And now, the latest piece of hardware I did creative production for... well... I just don't know what to say.
As a tease, I'll be posting new daily images (usually one per day, occasionally two) on umop.com until all is revealed at the NAMM Show on January 17th.
The first three images are attached, and can be linked here:
http://umop.com/metasonix/01.jpg
http://umop.com/metasonix/02.jpg
http://umop.com/metasonix/03.jpg
Latest daily images will appear here: http://umop.com/metasonix.htm"
Ultravox Live Aid
YouTube via Indio70. "The 2 songs that were edited out off the official DVD... here they are again enjoy."
Ultravox performing Reap the Wild Wind followed by One Day at Live Aid 1985. One Day is definitely the stronger performance. It's almost like they are just warming up with Reap the Wild Wind. The performance gets even better below. Be sure to catch Vienna. Billy whips out the violin. In the video above: Midge on E-Mu Emulator II and Billy on a Yamaha DX7 and Kurzweil K250.
I remember staying up until the wee hours of the night/morning to catch this live when it was first aired. I forget if they aired all four songs in the US but I definitely remember Vienna and at least one other. If you remember, feel free to comment.
BTW, Midge Ure was the co-organizer behind Live Aid, but for whatever reason I only remember seeing Bob Geldof receiving most of the limelight. I always wondered about that. Probably because Geldof was the main organizer and he was a bit more known in the states? Who knows...
"Here is the 2 other songs from Live Aid -85. These made it on the DVD. Classic Ultravox moment. Don't forget 2 view the other part, with the 2 songs that was cut out of the final DVD."
Dancing With Tears in My Eyes followed by Vienna. Chris Cross on PPG Wave 2.2. I also think I see an Oberheim DX drum machine next to the Emulator in this one. Billy on DX7, MIDIBoard and Violin. Midge on the Emulator.
Anyone know what was used for the drum effect in the original recording of Vienna? I always loved that particular sound.
For more posts on Ultravox click here, be sure to scroll for some of the more interesting posts.
Update: be sure to check out the comments for more including an update on the synths used.
Jerry Goldsmith - Logan's Run (1976, US, electronic)
Anyone know what synths were used for the soundtrack?
"This post consists of audio rips from the electronic parts of the movie Logan's Run. A lot of the score contains synthesizer sounds. I converted the ac3 to mp3 and made up the titles at my own discretion.
According to the Internet Movie Database, Jerry Goldsmith is the composer. Jerry did also the music for The Twilight Zone, Planet of the Apes, Star Trek, Chinatown and The Boys from Brazil."
click here for the post on Wiel's Time Capsule.
The Lonesomes - Crop Circles
YouTube via diekleinekuh. You might remember Anne Moo from this post.
"The Lonesomes' first music video from the upcoming album "This is Cow-Fi" (LoAF Recordings). Filmed in Berlin and in Moo-Zik studios 2007."
via The Lonesomes (be sure to check them out). The video "features a small jen sx-1000, but actually the recorded music is done mostly with the yamaha cs-40m and yamaha sy-1, with small parts on the jen."Pictured:
Ann Moo and her miniature synth arsenal.
Time Machine Demo
YouTube via stretta.
"Created for an ebay auction. How to use the Time Machine for voltage-controlled pitch shifting and Karplus Strong synthesis."
How to use USB to Make Midi Files
YouTube via lockergnome. Be sure to check out this video as well.
"http://live.pirillo.com - I love to play with my new TENORI-ON. However, I've been having trouble finding a way to sync the music from the TENORI-ON to my computer, so I can save it out as a Midi file. The TENORI-ON comes with Midi cables, so all I needed was the software to make it happen."
revolution test
YouTube via ripe909.
"testing out the futureretro revolution with new version of genoQs octopus operating system. All this started with a particular effect in the Korg Kaoss Pad :-)"
dx100 demo
YouTube via 909techno.
"small dx100 demo. quickly done with plenty of mistakes. Everything you hear is from the dx100. reverb, delay, eq, etc. from ableton live."
One Layer, One tenori-on, One Sound
YouTube via pepemogt.
"Here is my first track i did with the tenori-on after recive it from overseas, thanks to alt-vinyl in the UK. enjoy and happy new year! http://www.myspace.com/latinsizer"
Blacet Bar Graph 2520
via this auction"The Blacet BG2520 provides a visual display of audio and CV waveforms on a 20 element LED display. The range is from -10V to +10V and from DC to audio frequencies. For DC or slow control voltages, one LED bar will light. For audio, a range of LEDs will appear to light, showing the signal peaks. Signals outside of the 10V ranges will light the upper or lower LED bars until the signal passes back into range. Three “multied” jacks allow a signal to be both monitored and sent to two other locations. Use the BG as a visual aid to track control voltages from ADSRs, LFOs, BZs, etc. Use the module to monitor audio signal levels for best signal to noise ratio and to avoid distortion."
Also see this post on Matrixsynth-b
Oakley Little Lag
via this auction"This is a very simple but useful little module to introduce 'smoothness' to CVs and waveforms with the addition of a 3 way mult. It doesn't just have the usual 'lag time' pot that some simple lag generators possess, but two separate UP and DOWN controls. The UP control will affect the speed at which the output of the module rises. The DOWN control affects the speed at which it falls.
Drive the unit with a gate signal and the module becomes an effective AR envelope generator.
Use it to process those lumpy CVs you get from your midi-CV convertor. Remove that zippering to create smooth changes over time.
Use it also to process the output of an envelope follower to create more controlled filter sweeps when used with a VCF.
You have a choice of linear or 'logarithmic' output slopes, controlled by a simple switch.
The logarithmic output allows for longish times of lag to be set up easily, roughly 8 seconds maximum lag time. The output moves quickly at first then slows to reach the final value.
In linear mode, the output rises or falls in a straight line. It is classified in volts per second, as opposed to just time. The amount of time it takes depends on the front panel pots' positions AND the voltage change on the input. Generally, for small changes in voltage the linear output will appear to move quicker than its 'log' equivalent. The linear mode is very accurate and can be used to create linear portamento.
In addition to the LAG portion there is a 3-way mult which is normalled to the output of the Lag Processor. this allows you to send your Lagged CV to 3 different destinations (2 Oscillators and a Filter Cutoff control for example). When you have nothing inserted at the input of the Little Lag, the 3-way mult at the output may be used as a stand alone mult.
The construstion of this module is very nice. The panel is 6160 Aluminum, with silk-screened ORIGINAL graphics. There is only ONE other one like this"
HAPPY NEW YEAR!!!
I hope it was a good one. Cheers to 2008 being better than 2007.To the left is the world map for visits to the site. The shade of green indicates the amount of traffic from the given country. White means no visits. One year, I'd love to see the whole map green. It blows me away to think people from all over the world have visited the site. Happy New Year World!!!
Some stats for 2007:
When I took the snapshot (roughly 8:30 PST/11:30 EST) the total number of visits for the year was 1,383,337. The total number of page views was 2,519,686. The total posts to date including this post was 11,810. The total number of posts for 2007 is 6672 . That makes an average of 556 posts a month, roughly 18 posts a day on average. Total hits on the site since it started in July of 2005? Approximately 3.8 million. Amazing.
The reason I am putting up these stats is because this site isn't about me. It's about synths and the people who love synths. There are quite a lot of us. I want to thank everyone for a great 2007. The content and via links should speak for themselves. This site isn't just what I decide to put up, but what you, the synth community, sends me to put up. The site rocks because of you. THANK YOU!!! And have a VERY HAPPY NEW YEAR!!!
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MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
