MATRIXSYNTH


Sunday, February 01, 2009

Metasonix Pre-Orders at Analogue Haven

http://www.analoguehaven.com

"the r-51 is unique and never before available in any form. it uses two remote-cutoff pentodes, type 26a6. two cv inputs are available for controlling circuit distortion from less than 2% up to more than 40% (varies with individual tubes). two cv inputs also allow use of the r-51 as a conventional synthesizer vca, with gain variable from less than -75db to +5db (typical). both distortion and vca features can be used simultaneously. this allows true vacuum-tube asymmetrical soft clipping to be applied to any waveform. with suitable cv processing, the r-51 can be configured as a true "variable mu" limiter or expander."



"the r-52 uses two pentodes, type 12au6. the circuit is derived directly from our award-winning tm-2 filter, but with all the features of our tm-6 filter. a pair of bandpass filters is swept with a vactrol(tm) control element, a resonant treble filter and a less-resonant bass filter, giving a 4-pole lowpass response. filter sweep range (approx): bass-only 80-200 hz, bandpass/lowpass low setting 300-1000 hz, high setting 800-1900 hz. filter resonance/q adjustable from less than 1 to oscillation. voltage gain approx. 2 with resonance set to 10 o'clock position and input level set to maximum. both filters, or one at a time, may be selected and mixed in desired amounts using the front-panel response control. this allows for a wide range of equalization and special sound effects. cv inputs are available for sweeping the cutoff frequency and for affecting the treble filter's resonance. circuit distortion is less than 0.5% typical."

"the r-53 is directly derived from our legendary tm-1 device. it uses a 12af6/bd6 remote-cutoff pentode and a 12av7 dual triode. waveshaping is provided by a vacuum-tube "pulser" circuit that spits irregular pulses onto the input waveform. they synchronize erratically with the input pitch (if a waveform with sharp transitions is used). combined with true vacuum-tube circuit distortion, this can provide a vast range of complex, aggressive distortion effects, utterly unique in the world. a basic ring-modulation function is also available in the unit--applying a carrier pitch from an external oscillator to the screen grid of the pentode, this allows making inharmonic sum-and-difference pitch sound effects, with a unique vacuum tube pentode sound."



"the metasonix kv-100 is not called the "assblaster" for nothing. we've taken all of our knowledge of extreme vacuum-tube audio processing and combined it into a single convenient, easy-to-use package. inevitably, the end of the tm series will cause shit-eating, ass-fisting guitar players to whine about how "underappreciated" they are. so, we're feeding them a foot-long fecal sandwich of audio penis. it's complete with disgusting and juvenile cartoon art by dave lovelace, of retarded animal babies fame.

the kv-100 contains the following:
- five goddamn real new-old-stock vacuum tubes.
- the basic preamp stage of our tm-7 scrotum smasher, driving:
- the waveshaping (pulser) and ring modulation functions of our tm-1, minus the ring-modulator carrier oscillator, which then drives;
- a vco derived from our tm-3 (it is not intended for use as a synthesizer pitch source, only as a special effect for signal degradation), leading to;
- an all-new wide-sweeping bandpass filter, with envelope filter function plus wah capability (external pedal);
- plus an envelope follower, which also makes a gate signal;
- and a noise gate on the output, which is always active and is driven by said gate signal.

plus relay-based true bypass for the main circuit, plus relay controlled activation of the vco and pulser. controllable with manual switches or external fender-type amp footswitches.

plus plenty of processing inputs and outputs for control voltages. no midi, dammit.

only 8 knobs allow for vast ranges of distortion and effects, from subtle to flaming-enema. it's for those filthy, nutsack-sucking guitarists. because they deserve, and love, flaming enemas.

yes, you can plug your damn guitar into it, yes, you can plug line-level sources into it. yes you can run the output to a guitar amp or any mixer. yes, all the inputs and outputs are compatible with modular synthesizers.

no, it's not sorta-kinda-like a line 6 anything. no, it's not a tube-man version of a digi-tech or boss any-damn-thing. no, for the ten-millionth time, it won't make you play like steve vai, ass-sucker. i'm getting really sick of feeding sarcasm to the geeks who own 40 bootleg korn albums and read guitar world with their lips moving. (they say things like "dude, i bought them off a guy in the public toilet, he said they wuz real!") there's so many of them, and they are so brainless, i could type anything here and they'd never know or understand. one would think that after our tx-1 agonizer, tx-2 butt probe, and tm-7 scrotum smasher, they would know better than to ask stupid questions. feel free to gnaw the crust off my taint, tiny worm guitar dude. jeff beck is dead, and you're a fairy boy wearing pink satin panties and a matching bra. your mother's penis is bigger than yours. and your father is a duckbill platypus. have a nice day, scroad.

specifications: audio input accepts unbalanced guitar, microphone or line signals. output 600 ohms unbalanced. 1/4" jacks for all i/o. extra inputs: carrier audio input for ring modulator, cv inputs for vco pitch and filter sweep. extra outputs: envelope cv out, vco waveform out, pulser waveform out. frequency response: yes. distortion: yee-haw. filter sweep range: <100hz>12 khz. enclosed in rugged, moisture-resistant abs utility box with hinged lid, carrying handle and latch. size with lid closed 12.25"x7.4"x6.5" (314mmx186mmx168mm), weight (minus ac adapter) approx 2 lbs (1.4 kg). power: 12 volts ac, 50/60 hz, 1.5 amps. uses jameco 167151 ac adapter for power in 120v countries. power inlet: 2.1mm coaxial jack.

demos:
here are some audio demos using the prototype, courtesy of the wretch:
kv-100 mangling sh-101
kv-100 mangling machinedrum
kv-100 mangling guitar

please click here to visit the manufacturer's webpage for more info."
http://www.analoguehaven.com/metasonix/
Note the KV-100 and R-52 are listed on Big City Music as well.

NAMM: Metasonix KV-100 Assblaster beats @ NAMM 2009


YouTube via arrowbang

"Metasonix KV-100 Assblaster filters beats from a Jomox Xbase 999 drum machine. Recorded during NAMM 2009 at the big city music booth. Knob-twiddling by Josh Humphrey. Equipment available at bigcitymusic.com"

Utopia Synth Assblaster @ NAMM 2009


"Metasonix KV-100 Assblaster filters King Capitol Punishment Utopia Synth at the big city music booth."

NAMM: Analogue Systems modular rhythm @ NAMM 2009


YouTube via arrowbang
"Bob Williams of Analogue Systems at the Big City Music booth during NAMM 2009."

SR0 Eternal Monolithic "Pandora's Box" Automatic Fractal Numeric Synthesizer and Radio Transmitter


YouTube via VironCybernet.
"Digital sonification of a fractal at millions of samples per second generates an ultrasonic and radio frequency melody that never ends and theoretically will eventually transmit any sound on any frequency from baseband audio to ultrasonic octaves and shortwaves. Discovered in 1981 by the author of this video, and further ongoing research into hundreds of similar simple algorithms were inspired by the millenium digital music copyright controversy. These algorithms can predictively generate by accessing vast intangible supersets of all possible sounds as an original string of binary or decimal data without storing them in any media. SR0 = "Space Radio Zero". Interesting question: What rights could I have to an invention that transmits a practically infinite set of all digital sounds? I assume that this can only be public domain."

casioFZ1 digital sampling synthesizer


YouTube via benanderson88
"Got my new Casio FZ-1 yesterday, I fixed it up and made some quick patches."

ROLAND JUNO-60 DEMO


YouTube via AnalogAudio1
"The Roland Juno-60 is a classic six voice polyphonic analog synthesizer with RAM memories for 56 sounds. The sound architecture is rather basic, but it has an excellent sound and was used by many professionals like Eurythmics, Howard Jones, the Madonna producers, Paul Van Dyk and many more... it has the DCB interface - the predecessor of MIDI. With a DCB to MIDI interface it is very easy to integrate the instrument in a midi setup.

To my ears the JUNO-60 sounds far better than the very similar JUNO-106 (I had both). It has snappier envelopes and a fater chorus. However, sound is a matter of taste..."

MIDI Game of Life

"The MIDI Game of Life sequencer is made in the JAVA visual arts IDE and library Processing. It runs a loop of varying lengths selected by the user through the game of life algorithm. Each cell of the grid represents a pitch. In the current implementation, like colors are the same pitch - cells' octave can be scaled along the y axis. This is well suited for generating drum sequences or melodic material on the fly. The sequencer runs live and can be played as an instrument by drawing new cells while the game is running.

MIDI Game of Life is based on the original code by Ruin Wesen and makes use of their RWmidi JAVA/Processing library."

NAMM: 2009 Winder NAMM Show



flickr set by Synthesizers

yr3wk33 moog opus 3 improvisation


yr3wk33 moog opus 3 improvisation from longcat on Vimeo.
"recorded in the morning before going to work, just the moog on it's own, with particular attention given to the modulation...

friday the 30th january 2009 x"

Untitled

flickr by symtone
(click for more)

full size

MacBeth

I need to get me that green matrix. Reminds me of my old grid (much nicer of course).

Update: the grid is the cover of this album from Datassette.
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