"In this video we look at SHTH by After Later Audio. This is a straight forward
yet powerful 2hp Sample & Hold and Track & Hold module with additional Noise and
'Walk' outputs. The Walk signal is four separate pulse wave oscillators running
through a slew."
"SHTH - Sample and Hold - Track and Hold
Create stepped outputs using two different classic synthesis techniques, sample & hold and/or track & hold.
Sample & Hold
The top four jacks make up the sample and hold section. There is a noise output that is normalled to the input so you can pass a gate/trig signal into the SAMP input to get a stepped output at the OUT jack.
IN - Signal that will be sampled, normalled to NSE output SAMP - When high updates the voltage being sent to the output NSE - White noise output OUT - The sampled output (freezes the value from the IN jack when the SAMP jack receives a high signal) Track & Hold
The bottom four jacks make up the track and hold section. There is a walk signal (a randomish meandering voltage) that is normalled to the input. Track and hold is the opposite of sample and hold in that it will pass the IN value to the OUT jack until the TRACK input receives a high gate. While the TRACK input is high it will hold the value. After the TRACK input goes low, it will begin tracking the IN signal again.
IN - Signal that will be tracked TRACK - When high the value will be held at the output WALK - A meandering voltage OUT - The track output (follows IN while TRACK is low, held voltage while TRACK is high) CC-BY-SA Emelie Gillett"
Thank you fwor watching.
My name is Meska of the statik collective . I've been making mostly 'dark and expérimental' music for more than ten years now, i'v learn so much online, now it's time for me to share my knoledge, my exploration and this channel is a place to talk about the tools, sound design and techniques to make music with.
i'm tattooist at day jobs and you can found my work here : www.meska.fr
"We're using delay to make a simple rhythm more complex in this edition of #SoundRecipes. By matching the delay time and feedback amount to our kick drum, we're turning a single kick into a four-on-the-floor beat. And from there, we experiment with sending hats and snares in and out of the delay unit as well. Check out the gear used to get the full recipe and many others here."
"It's been a while but here's the new Switchtrix SYNTHI X.It features all of the synthi circuits minus the reverb and output amps brought out to 3.5mm sockets to interface with Synthi or other synths.
For lead times and price contact mail@switchtrix.co.uk"
"This was a performance I did for a live-streamed show put on by the Southern California Synth Society in 2020. I thought I had already uploaded it to the channel, but turns out I had not!
LOVE THIS ONE!
I really put a lot of time into creating this track, and it gives me all the feels!
Whatever kind of music you are making - KEEP IT UP, Friends!
Don't stop making *YOUR MUSIC*!!"
"The vhikk is a multi-algorithm experimental synth voice for eurorack. It combines wavetable oscillators, filters and delay-based effects into one module with 9 different modes."
"The name of the company is Forge-TME. The module is VHIKK. No, I don't know what any of that means.
The module at its most basic is an oscillator. Several, actually, merged with a variety of self modulation, feedback, and delay connections that make it look, at first glance, like an all-in-one drone.
It ends up being more than that. It tracks 1v/oct just fine, so can be a melodic, even lead oscillator voice. I start this video with the basic drone side of things, but then move over to the sequenced pattern side, which is equally interesting.
I'm not going to try to explain the module in any detail, as its structure is too complicated. You're gonna have to RTFM for that (https://forge-tme.com/vhikk/). On the upside, that complexity doesn't make it hard to use. Wiggle the knobs and lots of great stuff comes out.
Sequencer: Stochastic IG. Envelope: Zadar
00:00 Intro
00:20 Drone - no pitch
04:45 Drone - pitch up
18:28 Slow sequence
23:00 Fast sequence"
"The vhikk twists, convulses and wails in a vortex haunted, spitting dirt and dust and time and raw energy.
Rapid shadows, alien physics, pulsating artefacts, sometimes ridiculous, sometimes possessed.
The vhikk is a multi-algorithm sound source capable of traversing sonic planes complex, raw, dense, electric, erratic, dynamic.
The vhikk trades total control/comprehension/repeatability for a [hopefully fertile] dialogical experience and breadth of sonic palette.
It is intrinsically ephemeral and is designed to encourage exploration and presence - with low cognitive overhead.
The vhikk is happy alone but thirsty for voltages. The produced output can be quite spectrally and temporally full and doesn't necessarily require [but definitely appreciates] further processing to synthesise musically useful material.
The Vhikk is a multi-algorithm experimental synth voice specialising in [but not limited to] complex drones and basses, rich textures, and dynamic sfx. It combines sound generation and effects processing into one module with 9 different modes.
The nature of the Vhikk makes it suitable for situations where a compact, ergonomic, and self-contained sound source would be welcome - for example smaller modular systems, or large systems where a strange sound source with minimised cognitive overhead would be desirable.
The general architecture consists of a bank of wavetable oscillators [the generator] sent through a filter section which then passes into a delay-based structure [the processor] - with the specific architecture and character of these sections dependent on the selected mode.
Some of the modes implement what is referred to here as 'cluster scanning' - a smooth crossfading scan through sets of frequency/wave pairs. Imagine a wavetable scan parameter but each distinct wave position also has an associated frequency offset. In the modes implementing cluster scanning these wave/frequency offsets are different for every oscillator.
The processor in general consists of a delay-based structure which can be smoothly transformed from something resembling a delay [distinct [albeit processed] repeats] to something resembling a reverb [diffused repeats, increasing echo density, modulation].
There is a frequency shifter integrated into the processor, either post delay-structure or in the feedback loop depending on mode and FEED position.
The X jack is a signal input which is merged with the generator pre-filter and passed into the processor. The graphic in the upper middle of the panel is a level indicator for the X input."
P.J. Tracy is an Emmy award winning composer and musician based in Minneapolis, Minnesota. P.J. Began his career in his late teens as a touring keyboardist, vocalist and session musician. Since that time, he Has been a studio owner, a producer and audio engineer, a media composer specializing in fortune 500 branding, and a sound and music artist with work installed in the permanent collection at the Casoria Center For Contempory Art, Nsples Italy, Minneapolis Institute of Art, The Walker Art Center, and the Hauqe amongst other venues across the globe.
Additionally, P.J. Has composed work for a diverse selection of some of the world’s leading organizations, including: Aramco, Fox Sports, CBS Television, Bank Of America, GE, The American Red Cross and Sports Illustrated to name a few."
"An in-depth look at how the sound of the Korg OPSIX compares with an original DxX7 from 1983. In short, it stacks up well. It will never be identical as it has different envelope shapes (4 part level and rate compared with standard ADSR) but for most of us its close enough. I've loaded the original DX7 patch bank into the OPSIX and with just a few tweaks can get them almost identical on the fly. Given time they could be closer."
