"The Synthesis Technology E352 combines the latest 200MHz 32-bit ARM DSP with SynthTech's Cloud and Morphing algorithms found in the legendary E340 Cloud Generator and the E350 Morphing Terrarium.
The VCO is based upon a unique implementation of wavetable synthesis using 256 fixed-sample-length tables of 16-bit values. Each bank in memory consists of 64 wavetables, in an 8x8 array (like a chessboard). The proprietary DSP algorithms then allow either smooth or 'glitched' morphing between the wavetables in various ways. The E352 comes with 3 factory banks (192 total waves) and internal FLASH memory to hold 26 user-defined banks. This allows over 1,650 individual wavetables to be accessible. The free, cross-platform WaveEdit program is used to generate and import WAV files to user Banks.
Each VCO has 3 CV inputs (called Parameters or PARMs) which the VCO mode assigns to functions within that algorithm. In addition, there is a hard SYNC input, and the FM can be set to exponential or 3 ranges of TZFM (Thru-Zero FM)."
"What a fantastic addition!
As a beautiful homage to Rob Hordijk's legacy, Meng Qi has just released a new firmware, featuring a recreation of the Blippoo Box.
It sounds incredible, it will provide hours of sonic exploration in the ultra-compact, battery-powered Wingie form factor, what could we ask for more?
Can't wait to see what other firmware will come for the Wingie platform!!!
In this video, you will find a bit of a demo and a rough tutorial.
Hope you'll find it useful! 🧡"
"Another round with the Roland JD-800 . Someone recommended that I try making a sound and copying it to the other 3 parts and using an LFO on the filter and adjusting the individual LFOs per part. That’s basically what this patch is.
I’m not sure if this is growing on me yet or not. I think I have the basic navigation down and I’m liking it. Again, I compare it to the D50 and I feel it just doesn’t quite have the character or charm that the D50 has. And I must admit I really like the D50’s filter and FX section. I really love the Chorus in the D50 quite a bit. And why is the ‘chase’ function missing? Why’d Roland get rid of that? It was pretty nice and fun to use.
That said, I’m starting to like the tones I’m getting out of this. I made a few other patches as well that I really liked, although I didn’t record them here.
If you have other suggestions on how to use this thing, I have so far found the internet to be somewhat quiet on the JD-800. I don’t know why that is. The D50 is everywhere, so are the other Roland synths. But for the JD-800, I just am not seeing much of anything, apart from a few posts here and there about people wanting to sell theirs."
"A riff that came to my head on yesterday's live streaming, played on a Roland JX-8P, as a sound demonstration. The sound reminds quite a lot the original Oberheim synth.
Van Halen's "Jump" originally composed by Alex Van Halen, David Lee Roth, Eddie Van Halen.
Synth riff performed here by DX5 Jose Maria Bara.
PS: DX5 is me, not that I am playing this on a Yamaha DX5 :-)"
"Thanks for watching! #modular #eurorack #moonlightsonata
This time around all sounds that are being heard, come from the modular system, but the entire sequence is comprised of 4 monophonic MIDI tracks inside of Ableton. Each of the tracks has a CV Instrument plugin from the CV tools package. I am using my Expert Sleepers ES-9, which is a DC-coupled interface, which allows me to send clock data, CV, and Gate outputs directly from Ableton into eurorack modular without a need of a MIDI interface. I am using 4 monophonic tracks because the interface has 8 DC-coupled outputs, which are being used as follows: 1- Gate for melody track 1 The first gate out is going into the first input on the Ornament & Crime Digital Multi-function module in 4 x EG mode, which gives it 4 variable-clock envelope generators with a visual oscilloscope. From there, gate output from o_C goes into Mutable Instruments Plaits as a trigger input. The output of plaits goes through the first channel of Qu-Bit Tone for filtering, and then into the first channel on a quad VCA, and then into the first audio output on the ES-9. 2- Pitch/CV for melody track 1 The first pitch/CV out is going into the 1V/Oct input on the Mutable Instruments Plaits, to control the pitch of it, directly from Ableton’s first monophonic track. 3- Gate from melody track 2 The 2nd gate out is going into the Ornament & Crime’s (o_C) second envelope generator. Then it goes into the Strum input on the Mutable Instruments Rings, which is the 2nd oscillator in this patch. From Rings we have the identical signal patch as on the first track, but on the 2nd channel of each subsequent module. (Filter → VCA → Out) 4- Pitch/CV for melody track 2 The second pitch/CV out is going into the 1V/Oct input on the Mutable Instruments Rings, to control the pitch of it, directly from Ableton’s second monophonic track. 5- Gate for melody track 3 The 3rd gate out is going into the Ornament & Crime’s (o_C) second envelope generator. Then it goes into the CV input on 3rd channel of my VCA: Mutable Instruments Veils. Then it goes right into the audio output 3 on the ES-9. 6- Pitch/CV for melody track 3 The third pitch/CV out is going into the 1V/Oct input on the Instruō Cš-L (Dual Complex Oscillator), to control the pitch of it, directly from Ableton’s third monophonic track. 7- Gate for melody track 4 The 4th gate out is going into the Ornament & Crime’s (o_C) second envelope generator. Then it goes into the CV input on the 4th channel of my VCA: Mutable Instruments Veils. Then it goes right into the audio output 4 on the ES-9. 8- Pitch/CV for melody track 4 The fourth pitch/CV out is going into the second channel’s 1V/Oct input on the Instruō Cš-L (Dual Complex Oscillator), to control the pitch of it, directly from Ableton’s third monophonic track.
Now we get into the surround and miscellaneous modulations, which control the piece’s stereo movement, giving it spaciousness and an emotional feel. The output from Mutable Instruments Plaits is split, the first route is going just like it is described in the first 2 points above. The split output is going into the Mutable Instruments Clouds (which is being heavily modulated by the Divkid øchd module (8 drifting LFO). And then from there, it is going stereo l/r out into the ES-9s extra inputs. The Rings output follows the same convention, as it is also being split, but it on the other hand goes through Instruō Arbhar, and then into Instruō Lúbadh for additional processing. The stereo output from Arbhar is going into the ES-9, and one of the outputs from there is being split to also go into the Lúbadh. (Arbhar is a granular processor, and Lúbadh is a digital 2-track reel-to-reel tape machine)
Additional multi-band compression, EQ, and Limiting are done in the post inside of Ableton on the Bus level to minimize the unnecessarily large amount of processing, for a clear modular tonality.
Perks of being a member include Patch from scratch videos, behind-the-scenes, HD pictures of gear and such, unreleased music, sample packs, and many more :)"
"In this short video I show off Modbang's Self-Patch eurorack patch cable. They are soft and bendable but don't stay bent, if you know what I mean. These cables are very short, they are 3.5" and they glow-in-the-dark, which is really just an added bonus if you want to snap a nice shot of your system.
"Minimal Synth & Percussion Jam: 3 VCO's into Ladder Filter, then Fixed Filter Bank 914, with DH-ADSR envelope control over mix of both filters. Also down-sampling/bit-reduction effect using the Lunar Module to crunch then distort incoming audio/drum pattern from an iOS app (Patterning 1).
The classic Moog Modular-based Fixed Filter Bank 914 totally transforms the sonic character of the output from the Minimoog-based 24dB low pass VCF, creating a vocal/choir timbre, which is fed 3 sawtooth waves, each with their own LFO/modulation. The envelope automates the FFB module's built-in mixer, morphing the sound from just the Ladder VCF, to the Ladder through the Fixed Filter Bank.
The Lunar Module is great for taking a too-hi-fi sound and giving it some lo-fi character, with optional crunchy distortion, making it sit more comfortably alongside it's analogue Eurorack neighbours. Old-school, vintage-voiced sounds and circuitry FTW.
The AJH SYNTH Eurorack range consists of high-end modules, all hand-made in the UK, most of which are based on classic, vintage designs, authentically recreating the circuitry of much sought-after analogue instruments and technologies of the past, whilst greatly expanding them, and bringing them to modern Eurorack levels of convenience, limitless flexibility, and reliability.
Check out the AJH Synth playlists for module 'User Guides', and 'Patch of The Week' videos, which will be either performances or 'how to' guides, detailing functions/methods, and a range of sounds, some familiar, some less so, containing a patch sheet at the end to show you how to construct it for yourself.
Playlist:
TTMC Tokyo Delay MODEL TD-1 BUCHLA Music Easel Card
TTMC Tokyo Delay MODEL TD-1 Delay Time Random
TTMC Tokyo Delay MODEL TD-1 Delay Time , Feedback Random
"The Synthesis Technology E352 combines the latest 200MHz 32-bit ARM DSP with SynthTech's Cloud and Morphing algorithms found in the legendary E340 Cloud Generator and the E350 Morphing Terrarium.
