MATRIXSYNTH

Waldorf Q Keyboard Synthesizer with Newer Style Red Knobs

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Roland MC-202 Chill Jam

Published on Feb 8, 2016 Kevin Polzer

New Barton Musical Circuits BMC40 Dual Logic Demo

Published on Feb 8, 2016 boogdish

"This is a demo video for a DIY synthesizer module. If you're interested in building this, I have PCBs and microcontrollers available for it on my site: http://www.bartonmusicalcircuits.com/..."

"This is a Boolean logic module. It has two channels each with two inputs and gate outputs. The logic function of each channel is selected by the position of the potentiometer. The logical operations available are AND, NAND, OR, NOR, XOR, XNOR."

New Barton Musical Circuits BMC39 Step Rhythm Demo

Published on Feb 8, 2016 boogdish

"This is a demo for a new DIY synthesizer module design. If you're interested in building it for yourself, there are PCBs and PICs available at http://www.bartonmusicalcircuits.com/..."

"This is a step sequencer module. It has an internal clock with it's own output as well as two programmable output channels. It has EEPROM save/load function (saves patterns after powering down), and a range of 2 to 32 steps. LEDs, Pots, and Switches are all mounted to the PCB to minimize wiring while allowing for 1/4" and 1/8" jacks to be used with the same PCB."

Eowave Zone B.F. LFO

Published on Feb 8, 2016 eowave

"An overview of the Zone B.F. 2 channel LFO for eurorack modular"

Fast Struggle-A Eurorack Modular Synthesiser Patch

Published on Feb 8, 2016 Luke Killen

"A quick minute or two of a patch from last night."

Korg Electribe 2 + Ms20 Mini Jam - Toxic

Published on Feb 8, 2016 JediSid

Trent Reznor Inspired Moog Voyager Experiment

Published on Feb 8, 2016 farmyfarm

"Experimenting on my Moog Voyager with MTC sync to LFO and Panning the Low-Pass and High-pass filters left and right with the shaping knob...Loving this Moog!"

Peneplain

Published on Feb 8, 2016 voltlife

"An ambient piece that drifts through darkness and light with minimal human intervention. The tones are mostly conventional, but the interesting part is the way that structure can be given to what could be an endlessly self-running generative patch.

The main drone is a Verbos Harmonic Oscillator through Doepfer A189-1 (in short delay mode) and uVCF (slightly resonant LP). Slow modulations affect the width and centre inputs of the HO, the BC input of the A189-1 and the filter cutoff: interactions between the harmonic movements from the oscillator, A189-1 delay time and filter cutoff produce ever-changing textures ranging from slow swells to softened digital glitches.

The quasi-melodic part is Braids in PLUK mode, with the semi-random melody coming from an A149-1, quantised to a pentatonic scale by Braids, while Klasmata generates Euclidean triggers to drive the plucks. I usually find the pluck mode a bit harsh on Braids, so I used an R52 to warm it up and a Serge Resonant EQ to roll off the lows and vaguely emulate a resonant body from an acoustic instrument. Both drone and plucks go into Erbe Verb set to massive, spacious, on-the-edge-of-oscillation mode.

There's also a couple of plonky tuned percussion parts that come in during the middle section. These start with two individual harmonics from the HO, so they'll always be in tune with the drone. These go through two channels of Optomix (though one is first ring-modded against itself to double its pitch), into Wow and Flutter for some quick warbly delays, then into a Vox Delay Lab for a longer stereo delay with reverse effects.

The structure is all driven by a Verbos Voltage Multistage, which is clocked by a uLFO to get longer step lengths than the VM can do with its internal clock. CVa controls the density of Klasmata's rhythms, from one pluck per bar through to livelier patterns in the middle. CVb controls Erbe Verb's mod depth, pushing it up into shimmer mode at various stages to create a choir-like backing. Two VM gate outs drive a sequential switch to turn the Optomix percussion on for a few stages then off again. The uLFO's sine out controls the uVCF cutoff, subtly reinforcing the stage movements with filter swells.

Within that structure, the generative elements come from the A149-1 and a Turing Machine, combined with switches and logic. The Turing's Pulse 1 out clocks the A149-1, thus controlling when new notes are generated. Its Voltage out controls pluck length while the main output controls the R52 cutoff to further mute the shorter plucks. The timing of the percussion also comes from a combination of the Turing's Pulse outs with logic and clock division. Given the shift-register-based quasi-randomness of both the A149-1 and the Turing, combined with the Klasmata rhythms, this gives subtle structure to the melodic patterns."

Macbeth Elements Jam

Published on Feb 7, 2016 kpsiegel

"I decided to make a video of me playing with my Macbeth Elements synth. This was for my fun. I didn't use the internal reverb or delay. The reverb/delay combo was from my Eventide H3000 D/SE and I put the Elements through my Overstayer Instrument Driver to give it some additional love. I popped a drum loop in there just to put a beat down for some fun.

I had the ultrabender set to mod only VCO3 and I had VCO3 in the audio path. It also was being used to do filter mods. At one point I crank up some pink noise also. You can also here a sawtooth LFO coming in at one point to modify the filter cutoff also.

I switched back and forth between the A and B filter types. They are both awesome. The A filter is definitely the acid monster. The B filter is just chewy goodness. I had it set up to play via midi with my Axiom 61 controller.

All hail Ken Macbeth for this fine synth! Well done sir."