Wednesday, October 15, 2014
Moog Sub37 & DSI Pro2 [+ TR8 & TB3]
Published on Oct 15, 2014 Trooper Starship
"my Sub37 arrived (after 9 month...) and i made this little track, only with the Sub37, the Pro2 and the TR8 & TB3
Pro2: all Percussion, some Pad
Sub37: Bass, Leads
TR8: BD & HiHats
TB3: 303
FX: RMX500, BigSky, TC D-Two, Echolution 2
Download: https://soundcloud.com/the-trooper-1/..."
Shruthi-1 Programmer / Editor with 3 Voiceboards
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"The Shruthi is a hybrid digital/analog monosynth.
Its hardware design is deceptively simple, but the sonic range is wide: sometimes grungily digital like a PPG-Wave, fat
and funky like a SH-101, videogame-y like a Commodore 64, weird and warm like an ESQ-1 ; but more often than not, truly original.
Contrary to the hardware you can purchase at the music shop next door, a Shruthi isn’t designed to be industrially manufactured.
Indeed, its assembly doesn’t require any specialized equipment, besides a screwdriver, cutters, a soldering iron and two hands.
You will receive a fully assembled, tested and working Shruthi-1 "Editor" with two Voice/Filter-boards and the "Hardware" Editor in one case.
With the "digital" Programmer you are defining and editing the sounds directly on the synth. Each Filterboard has it's own audio in and output (6,3mm) and
is midi controllable.
The installed voice/filtercards are:
- Roland IR3109 Filterboard (Demo of the actual unit) with Original Roland IR3109 Chips and Capacitors.
- Tubeohm Ladder VCF (Demos can be found here)
The third voice/filtercard is the SVF Filter from Mutable Instruments:
- Demo"
via this auction
"The Shruthi is a hybrid digital/analog monosynth.Its hardware design is deceptively simple, but the sonic range is wide: sometimes grungily digital like a PPG-Wave, fat
and funky like a SH-101, videogame-y like a Commodore 64, weird and warm like an ESQ-1 ; but more often than not, truly original.
Contrary to the hardware you can purchase at the music shop next door, a Shruthi isn’t designed to be industrially manufactured.
Indeed, its assembly doesn’t require any specialized equipment, besides a screwdriver, cutters, a soldering iron and two hands.
You will receive a fully assembled, tested and working Shruthi-1 "Editor" with two Voice/Filter-boards and the "Hardware" Editor in one case.
With the "digital" Programmer you are defining and editing the sounds directly on the synth. Each Filterboard has it's own audio in and output (6,3mm) and
is midi controllable.
The installed voice/filtercards are:
- Roland IR3109 Filterboard (Demo of the actual unit) with Original Roland IR3109 Chips and Capacitors.
- Tubeohm Ladder VCF (Demos can be found here)
The third voice/filtercard is the SVF Filter from Mutable Instruments:
- Demo"
frequencycentral continuum phaser module
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Vendor Info:
Continuum has it’s roots in my previous guitar effects pedal designs. First there was Causality 4, then Causality 6, then Gemini Dual Core.
Continuum looks and acts rather like a VCF, in fact that’s exactly what a phaser is, an all-pass VCF. There’s far more to phasers than just sweeps up and down from an LFO, so Continuum has two CV inputs, so you can use a variety of CV sources simultaneously.
The topology of Continuum is 4 swept OTA all-pass filter stages with a fixed all-pass filter stage either side of the swept core. There’s a switch to select regen over odd or even stages. Most phasers stick to odd stages, but there are undiscovered sonic possibilities using even stages of regen.
Continuum @ Modular Grid
Wanna hear it? First, let’s phase some pink noise:
Continuum Noise
So now, with a couple of VCOs as audio, let’s send S/H into one CV input then an ADSR into the other, while slowly turning up the resonance:
Continuum SH Env
Now, a single VCO as audio, with ADSR to one CV input of Continuum, and slowly introducing a -1oct sub osc to the other CV input:
Continuum FM
Finally, here’s how it sounds phasing my Roland RS-09:
Continuum RS09"
via this auction
"Vendor Info:
Continuum has it’s roots in my previous guitar effects pedal designs. First there was Causality 4, then Causality 6, then Gemini Dual Core.
Continuum looks and acts rather like a VCF, in fact that’s exactly what a phaser is, an all-pass VCF. There’s far more to phasers than just sweeps up and down from an LFO, so Continuum has two CV inputs, so you can use a variety of CV sources simultaneously.
The topology of Continuum is 4 swept OTA all-pass filter stages with a fixed all-pass filter stage either side of the swept core. There’s a switch to select regen over odd or even stages. Most phasers stick to odd stages, but there are undiscovered sonic possibilities using even stages of regen.
Continuum @ Modular Grid
Wanna hear it? First, let’s phase some pink noise:
Continuum Noise
So now, with a couple of VCOs as audio, let’s send S/H into one CV input then an ADSR into the other, while slowly turning up the resonance:
Continuum SH Env
Now, a single VCO as audio, with ADSR to one CV input of Continuum, and slowly introducing a -1oct sub osc to the other CV input:
Continuum FM
Finally, here’s how it sounds phasing my Roland RS-09:
Continuum RS09"
frequencycentral system X filter roland system filter module
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Vendor Info:
Frequency Central proudly announce the release of the ‘System X Filter’.
It’s a clone of the Roland System 100M VCF, and uses 2 x LM13700. There’s an additional 12dB/oct output which is 180 degrees out of phase with the 24dB/oct output. Mixing the two outputs will give bandpass.
First up, classic 24dB/oct LPF. The two VCOs are my Hearn Morley HMVCO1c, there is a little -1oct subosc added as FM of the VCF towards the end of the clip:
Roland-12 1-24dB-LPF.mp3
Next, the 12dB/oct LPF output, again a touch of subosc FM towards the end:
Roland-12 1-12dB-LPF.mp3
Finally, by mixing both 12dB/oct and 24dB/oct outputs in equal amount we have the bandpass mode:
Roland-12 1-Bandpass.mp3
Module width: 10HP
Module depth: 65mm
Current draw: +10ma/-10ma"
via this auction
"Vendor Info:
Frequency Central proudly announce the release of the ‘System X Filter’.
It’s a clone of the Roland System 100M VCF, and uses 2 x LM13700. There’s an additional 12dB/oct output which is 180 degrees out of phase with the 24dB/oct output. Mixing the two outputs will give bandpass.
First up, classic 24dB/oct LPF. The two VCOs are my Hearn Morley HMVCO1c, there is a little -1oct subosc added as FM of the VCF towards the end of the clip:
Roland-12 1-24dB-LPF.mp3
Next, the 12dB/oct LPF output, again a touch of subosc FM towards the end:
Roland-12 1-12dB-LPF.mp3
Finally, by mixing both 12dB/oct and 24dB/oct outputs in equal amount we have the bandpass mode:
Roland-12 1-Bandpass.mp3
Module width: 10HP
Module depth: 65mm
Current draw: +10ma/-10ma"
Rare Plan B Model 10 Polyphonic Envelope Eurorack Module
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"This seems to be also one of the "older" modules from the series. It works fine without any issue.
Reason why the module is called “polyphonic” is because it can output 4 different type of voltage “envelope” at the same time.
More info about this module here and here"
"The PlanB model 10 is a multifunctional module, not only a simple envelope.
The name “polyphonic envelope” does not describe the functions of this great module, the reason why they called it “polyphonic” is because it can output 4 different type of voltage “envelope” at the same time.
In fact the M10 is way more versatile than an envelope, this is really similar to the Bananalogue VCS module, a multitask voltage controlled cv generator .
The main task is the ENVELOPE.
The envelope consist of an AD env with RISE (0.5 ms-5 min attack)and FALL (0.5 ms – 5 min decay/release) controlled not by gate signals but by Triggers.
The attack and decay time can stretched x8 times their duration with the TIMEBASE control knob (so the complete envelope can last from 0.5 milliseconds to 20 minutes).
You can stretch the time manually just turning the knob or controlling it with the VC TB (voltage control timebase).
The VC TB can act in positive or negative, so it can add or subtract.
Than there is the level of the env, which is bipolar too , so it can act as a positive or inverted envelope.
On the left there are the 5 connectors for the 4 different envelopes generated:
EOC
EOA
RAMP
2x AD (with ad contour switch)
The AD acts as the classic “trig” envelope, with 3 different contour (log, lin, exp).
The RAMP is a ramp with rise time 2x the RISE control time.
The EOA is a sustained square which falls when receive a trig and performs the AD cycle at the “End Of Attack”.
The EOC acts as the EOA but the AD starts at the End Of Contour.
LFO MODE
The rise-fall cycle can be looped and can also work as an lfo.
Using the rise and fall it can produce various waveform between the tri, square, saw, ramp…
The interesting thing is that the timebase knob can control the time of the lfo, so it a vc lfo, the other thing that can lead to creative results is the fact that the rate of the lfo is not controlled by the timebase only, but it ’s a mix of the rise and fall time.
So the shorter is the R&F the faster will be the lfo rate.
VCO MODE
The third interesting mode is the vco function.
The module has a triangle-core , so it can sound useful even as a vco.
To get the vco mode you have to switch into LFO and use fast R&F time and “tune” the oscillator with the timebase function and VC TB to control it with a keyboard cv.
It does not reach very high frequencies but can be used on the low and mid range as an audio modulator or a audio source.
TIPS:
I noticed two useful tips:
As the core is a TRI-core the envelope create a sort of clip when, reached the max value,start the fall.
To avoid the clip it’s useful to use a lowpass filter post the VCA.
In LFO mode don’t connect any source to the trig in because the summing of the two sources can damage the module , too high voltage!"
via this auction
"This seems to be also one of the "older" modules from the series. It works fine without any issue.
Reason why the module is called “polyphonic” is because it can output 4 different type of voltage “envelope” at the same time.
More info about this module here and here"
"The PlanB model 10 is a multifunctional module, not only a simple envelope.
The name “polyphonic envelope” does not describe the functions of this great module, the reason why they called it “polyphonic” is because it can output 4 different type of voltage “envelope” at the same time.
In fact the M10 is way more versatile than an envelope, this is really similar to the Bananalogue VCS module, a multitask voltage controlled cv generator .
The main task is the ENVELOPE.
The envelope consist of an AD env with RISE (0.5 ms-5 min attack)and FALL (0.5 ms – 5 min decay/release) controlled not by gate signals but by Triggers.
The attack and decay time can stretched x8 times their duration with the TIMEBASE control knob (so the complete envelope can last from 0.5 milliseconds to 20 minutes).
You can stretch the time manually just turning the knob or controlling it with the VC TB (voltage control timebase).
The VC TB can act in positive or negative, so it can add or subtract.
Than there is the level of the env, which is bipolar too , so it can act as a positive or inverted envelope.
On the left there are the 5 connectors for the 4 different envelopes generated:
EOC
EOA
RAMP
2x AD (with ad contour switch)
The AD acts as the classic “trig” envelope, with 3 different contour (log, lin, exp).
The RAMP is a ramp with rise time 2x the RISE control time.
The EOA is a sustained square which falls when receive a trig and performs the AD cycle at the “End Of Attack”.
The EOC acts as the EOA but the AD starts at the End Of Contour.
LFO MODE
The rise-fall cycle can be looped and can also work as an lfo.
Using the rise and fall it can produce various waveform between the tri, square, saw, ramp…
The interesting thing is that the timebase knob can control the time of the lfo, so it a vc lfo, the other thing that can lead to creative results is the fact that the rate of the lfo is not controlled by the timebase only, but it ’s a mix of the rise and fall time.
So the shorter is the R&F the faster will be the lfo rate.
VCO MODE
The third interesting mode is the vco function.
The module has a triangle-core , so it can sound useful even as a vco.
To get the vco mode you have to switch into LFO and use fast R&F time and “tune” the oscillator with the timebase function and VC TB to control it with a keyboard cv.
It does not reach very high frequencies but can be used on the low and mid range as an audio modulator or a audio source.
TIPS:
I noticed two useful tips:
As the core is a TRI-core the envelope create a sort of clip when, reached the max value,start the fall.
To avoid the clip it’s useful to use a lowpass filter post the VCA.
In LFO mode don’t connect any source to the trig in because the summing of the two sources can damage the module , too high voltage!"
Ping Pong Reverb with Erbe-Verb, Rosie and modDemix
Published on Oct 15, 2014 MAKEN0ISE
"Listen to this video with headphones for best results.
Using quadrature envelopes ("West-Coast Swirlybird" patch from MATHS manual) to alternately open the two channels of the modDemix automates panning of reverb in Rosie's stereo effects return.
http://www.makenoisemusic.com
http://www.makenoisemusic.com/manuals..."
Original Pro One Sequential Circuits Analog Synth - Early Version SN 0468
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"Stunning early version Pro One all analog synthesizer with serial # 0468. This one is complete with no issues and has the more stable J-wire type keyboard. The Pro One is a monster bass and lead synth heard on countless records since its production and utilizes the same VCOs, VCFs, VCAs and Envelope Generators as its bigger brother the Prophet 5. - This one is exceptionally clean - all keys are fully functional and trigger properly - All knobs and controls function properly"
via this auction
"Stunning early version Pro One all analog synthesizer with serial # 0468. This one is complete with no issues and has the more stable J-wire type keyboard. The Pro One is a monster bass and lead synth heard on countless records since its production and utilizes the same VCOs, VCFs, VCAs and Envelope Generators as its bigger brother the Prophet 5. - This one is exceptionally clean - all keys are fully functional and trigger properly - All knobs and controls function properly"Elektron SidStation
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
Note the slight crack on one of the bottom corners of the case.
via this auction
Note the slight crack on one of the bottom corners of the case.
X1L3 - Circuit bent - Synth mod - Casio PT82 / PT87
Note: Auction links are affiliate links for which the site may be compensated.
Published on Jun 30, 2014 manufacturedZ3R0 .
via this auction
"Back to where it all started.
No eye candy or wooden ends etc. I wanted substance over superficiality. As much as i enjoyed doing the larger machines and will probably do more when i think i've something signifigant to add again (like midi / adsr etc) i started to feel that the curious aspect of these little instruments that sparked my interest was getting lost in some kind of pseudo synthesizer territory to the point where i might as well have just moved on to total synth diy and ditched working on these things. I've taken what i've learned along the way and what i can do now, miniaturised it all for purpose and put it to work with the fundamentals of the circuit bending that bought me to where i am and what i can do now. The charm and fun of a bespoke circuit bent keyboard but with a sound that stretches from vanilla to hell.
I wanted a compact machine which made space very limited. So i opted to ditch all the drum mute/distortion bends and keep just the pitch control bend which is so easily applied to these. Grunge bossa nova and disco get old fast. I wanted this to be something you could sample the hell out of for trashed up noise and quirky analogue hits and sounds. It's heart revolves around additional circuitry. An embedded psu/supressor to power the keyboard, filter and delay efficiently and of course the filter and delay themselves. It also has a CV input around the side that allows you to modulate the filter cutoff via other equipment. In this case a sequential circuits Pro 1 with note sequences programmed to send out cv patterns.
The intro to this video was made using samples from this machine and the sampler/fx processing of propellerheads reason. Probably most apparent as the intro peaks with the delay crash.
I think i've got it right and i think this is something different and diverse within the realm. But i suppose like most things it's a matter of taste as to if you like this particular flavour or not :)"
Modifications and embedded circuitry:
Analogue resonant filter with high pass and low pass bands
Gain, resonance, low pass/high pass toggle and cutoff
A brilliant filter based on the synthacon.
Lot's of resonance and a unique character.
Digital 'death industrial' delay
Rate, noise, feedback, off/on toggle
This delay variant is based on what i've learned from modifying delay pedals in the past.
Quite an aggressive version that can dial up some serious noise as well as act as a pseudo reverb/conventional echo.
PSU - DC hum suppression circuitry
A regulated psu is now built into the machine.
This gives a stable and quiet power supply to both the keyboard and additional circuitry as well as
providing a quiet output and excellent noise floor.
Input voltage is 9 - 12V
Since filming the video the master power switch has been moved from the side of the machine to the top control panel which is a better position and looks neater.
Control voltage input to filter cutoff
3.5mm jack. Allows you to hook the casio up to your cv enabled equipment to modulate the filter.
Examples of this are shown in the demo video.
The cv modulation is provided by a sequential circuits pro1.
Master pitch control
Gives a large global pitch range - demonstrated in the demo video
Since filming the video a body contact has been added to the side of the machine which gives a handy way of pitch bending and modulation.
Published on Jun 30, 2014 manufacturedZ3R0 .
via this auction
"Back to where it all started.
No eye candy or wooden ends etc. I wanted substance over superficiality. As much as i enjoyed doing the larger machines and will probably do more when i think i've something signifigant to add again (like midi / adsr etc) i started to feel that the curious aspect of these little instruments that sparked my interest was getting lost in some kind of pseudo synthesizer territory to the point where i might as well have just moved on to total synth diy and ditched working on these things. I've taken what i've learned along the way and what i can do now, miniaturised it all for purpose and put it to work with the fundamentals of the circuit bending that bought me to where i am and what i can do now. The charm and fun of a bespoke circuit bent keyboard but with a sound that stretches from vanilla to hell.
I wanted a compact machine which made space very limited. So i opted to ditch all the drum mute/distortion bends and keep just the pitch control bend which is so easily applied to these. Grunge bossa nova and disco get old fast. I wanted this to be something you could sample the hell out of for trashed up noise and quirky analogue hits and sounds. It's heart revolves around additional circuitry. An embedded psu/supressor to power the keyboard, filter and delay efficiently and of course the filter and delay themselves. It also has a CV input around the side that allows you to modulate the filter cutoff via other equipment. In this case a sequential circuits Pro 1 with note sequences programmed to send out cv patterns.The intro to this video was made using samples from this machine and the sampler/fx processing of propellerheads reason. Probably most apparent as the intro peaks with the delay crash.
I think i've got it right and i think this is something different and diverse within the realm. But i suppose like most things it's a matter of taste as to if you like this particular flavour or not :)"
Modifications and embedded circuitry:
Analogue resonant filter with high pass and low pass bands
Gain, resonance, low pass/high pass toggle and cutoff
A brilliant filter based on the synthacon.
Lot's of resonance and a unique character.
Digital 'death industrial' delay
Rate, noise, feedback, off/on toggle
This delay variant is based on what i've learned from modifying delay pedals in the past.
Quite an aggressive version that can dial up some serious noise as well as act as a pseudo reverb/conventional echo.
PSU - DC hum suppression circuitry
A regulated psu is now built into the machine.
This gives a stable and quiet power supply to both the keyboard and additional circuitry as well as
providing a quiet output and excellent noise floor.
Input voltage is 9 - 12V
Since filming the video the master power switch has been moved from the side of the machine to the top control panel which is a better position and looks neater.
Control voltage input to filter cutoff
3.5mm jack. Allows you to hook the casio up to your cv enabled equipment to modulate the filter.
Examples of this are shown in the demo video.
The cv modulation is provided by a sequential circuits pro1.
Master pitch control
Gives a large global pitch range - demonstrated in the demo video
Since filming the video a body contact has been added to the side of the machine which gives a handy way of pitch bending and modulation.
Roland Sh-101 Synth Red
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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
