MATRIXSYNTH: Monday, June 23, 2008


Monday, June 23, 2008

Lego Nord Modular

via Kitsunexus

Three shots via NordLead Modular

Back in the day


YouTube via twoshedtunes
"Film of an analog electronic home studio showing how I made my tunes before digital came along and even before I had midi"
Update: some background from Lorne in Canada:
"Larry's a friend of mine who asked me to chop up a 1984 video of him working in his old twosheds basement studio back in 1984. I did and he just put it up on You tube. The tube has a 10 minute limit on uploads so its there in three chunks.

He used a synare, a 606 and 303 into a rather uncommon 4 track cassette mixer system from Clarion (came in its own factory console!) and he layered his homemade electric mandolin into it. The clairitone had built in analog echo circuits and varispeed. Anyhow that's how it was back in the day, just before I stumbled upon his African Bypass cassette in the local indy shop and met him. He was listening to a lot of southern African and Nigerian musics back then that were news to me. Anyhow its hard to see this gear the way it was before techno, so here's how one person made a non-techno non-disco studio out of it. He walks through how he worked back then, chain smoking the whole way, mandolin is in the middle and the final mix style is in the last chunk.

Lorne in Canada"

First vid try Dual Cyclotron, Dalek and Doepfer modules


YouTube via pristak777
"My first try at a video using Dual Cyclotron, Dalek and some Doepfer modules. Not quite up to the quality I like for Church of the Apocalypse, but it is close at the end."

cwejman filter test


YouTube via pristak777

Synthesizers.com w/ Moogerfooger Ring Modulator


YouTube via angelometz. "Inspired by Modular 2007. Check it out!"

My Minimug

flickr by BeerNotBombs

full size

"Coffee just doesn't taste the same without it."

X0XB0X Synthesizer


YouTube via Dazbo10. via ladyada's ranting. More info and pics here.
"During june of 2008 i built a x0xb0x,these are the closest you can get to a TB303 without it actualy being a tb303,each component inside the case is the same as the original tb303 - This was my first play after building...
I was pleased with the result."

Theremax


YouTube via PortamentoFr

"Premier fonctionnement de mon Theremax fait maison."
"Prime way my Theremax homemade."

korg poly 800 II sounds


YouTube via oldcomforter
"Me messin' around with the poly 800 II - not yet modded. I got this synth in 2007 for $100 - it was slightly battered and missing a key. Amazed at how scuzzy (in a good way) and dark about 1/4th of the sounds are. Another good portion are heavenly sounding. Hopefully soon to be modded with the moog slayer."

"Hier ist das leben" - on Yamaha and ELKA organs


YouTube via organfairy. Roland JX-8P
"Somehow this piece of German disco music just asks for a yellow one-piece suit and a silver cap! Add two organs, a synth, and some chimes and the picture is complete...."

Tenori-on with Absynth


YouTube via salzmanufaktur. "using the Bounce mode"

Tenori-on with FM8

"using the Draw mode with an arpeggiated sound"

Diabolic Song Movie


YouTube via PortamentoFr. Anyone know more about the "Diabolic Mad Synthesizer?"
"Séance de travail et d'improvisation de Bastien Lartigue sur quelques synthétiseurs analogiques : Le Diabolic Mad Synthesizer (en rouge), un CS15 et un theremin. Le rythme et les nappes sont réalisés avec un Fantom X6 Roland. (Désolé pour le manque de lumière) Le MP3 se trouve ici : www.lartigue.free.fr/diy/synthe/media/di abolic_song.mp3"
Googlish:
"Working session and improvisation Bastien Lartigue on a few analog synthesizers: Diabolic Mad Synthesizer (red), a CS15 and a theremin. The pace and ground are made with a Roland Fantom X6. (Sorry for the lack of light) The MP3 is here: www.lartigue.free.fr / diy / synthe / media / di abolic_song.mp3"

WSG 2


YouTube via PortamentoFr

"Le Weird Sound Generator est un générateur de son bizarre. C'est un instrument imaginé par MFOS. Il comporte 2 x 3 VCO et un VCF."

MFB SYNTH II

images via this auction
"The monophonic Synth 2 is the new flagship for MFB with a storeable user interface, more possibilities to play on and better quality.

The classical real analog module with voltage controlled VCOs, VCF and VCA can be run via Midi or with the internal stepsequencer. 25 Sequences with each 32 steps can be edited, combined and performed. There are 50 presets and 49 user sets to store all sound parameters.

Noise, external audio and three VCOs come together in the internal mixer where they offer a wide range of sound possibilities.

In the 24dB Lowpass filter the unit can resonate itself, be modulated from the LFO or a VCO and has a keyfollower function.

There is each one ADSR envelope for each VCA and VCF. The two LFOs with triangle, rect, saw, random can be used as one shot or as a little envelope, too.

Over Midi you can play VCF and/or VCA with dynamics. The sequencer can send or receive start, stop and clock.

It can understand CV/Gate for it's 3 oscillators, can be controlled via MIDI and has a great integrated step sequencer.

MIDI In/Out, Audio In/Out , CV/GATE In, Power (power supply included)"

DAVOLI DAVOLISINT


images via this auction

You can find a link to more info on this rare piece in this post.

Moog Taurus II Analog Synth Pedals

images via this auction

Wilson Delay M-odule


via Matthew Carpenter:

"Wilson Delay M-odule
Includes: The Wilson Analogue Delay [WAD] module, a Dual Transient Generator [DTG], a Mixer/Processor [MIX PRO], and an XFader [XFAD].

$2,250 USD.

To order, or for more information:
Sound Transform Systems
(262) 367-3030"

Synthesizer Module Development


YouTube via MusicMiK. You can find prior videos here. If you ever wondered what the process of building a synthesizer from start to finish was like, watch these. Fascinating stuff.
"It took a while, but now it's completed - the making-of video of my ladder VCF module.
This is some highly compressed form of the development and assembly of a synthesizer module including some work for the thermally coupled matched pairs of transistors and matching of the diodes. You also see my way of handling the veroboards to get a reliable module afterwards."

The History of EMS Part 1

via Bitexion on VSE

"This is copied off the Analogue Systems user manual, since they have two cloned EMS modules in their line, the filter and trapezoid. Not written by me. Part 2 comes later, it's 10 pages of tightly written text.

The most interesting parts are the part about the awful control voltage scheme internally, and the quirky DK1 keyboard. Here you go. This part deals with the VCS3 and why it is said to be an effects machine. The next parts will deal with the success and fall of the company, no time to write all that down now.

THE EMS STORY

IN THE BEGINNING
------------------
Peter Zinovieff was born in London in 1933. A geologist who filled his home with samples (rocks, not audio) he was fascinated by electronic music, and used his wealth to develop a huge voltage controlled studio that occupied an entire room at his home in Putney.

When this became too unwieldy, he enlisted the help of engineer Dave Cockerell and programmer Peter Grogno, who helped him design an enhanced system. This used two DEC PDP-8 minicomputers to control the voltage-controlled modules of Zinovieff's early synthesizers. Their "MUSYS" system proved reasonably user-friendly,with a QWERTY keyboard and a velocity sensitive piano-style keyboard, much like today's computer-based studios.

Zinovieff's ideas and instruments were incredible. Twenty years before modern computing and sequencing packages, Zinovieff's PDP-8s could store and replay compositions, complete with sound shaping parameters. His software was even capable of twisting the music into bizarre new sounds and effects. In 1968, Zinovieff and Cockerell also invented a form of computer-controlled spectral (or 'additive') synthesis, using a system of 60 resonant filters that could analyse sounds and resynthesize them.

In 1969, when MUSYS became too expensive for Zinovieff alone, he decided to offer it 'to the nation' as a free resource for the arts. To this end, he placed an advertisement in The Times. Fortunately, a gentleman named Don Banks misunderstood this offer and, in return for a cheque for £50, he asked Zinovieff to "make me a synthesizer". So, together with Tristram Cary, a composer for electronic music for TV series such as "Dr Who", Zinovieff and Cockerell created a new company, Electronic Music Studios Ltd, and produced its first synthesizer. Cockerell's "VCS1" was a hand-built rackmount unit with two oscillators, one filter and one envelope. In an era when any synthesizer was, almost by default, a huge modular, this was not thought to be adequate, so the partners enhanced Cockerell's initial ideas, designing an instrument that was small, but powerful and flexible. It was the Voltage Controlled Studios no.3- The VCS3

THE VCS3
--------------
The VCS3 is, essentially, a modular synth that comes in two parts. The synth itself - nicknamed "The Putney" because EMS was located in that part of London - contains the bulk of the audio modules. It also incorporates two power amplifiers and speakers, making it a self-contained sound-effects generator.

Oscillators 1 and 2 are the primary sound sources, and these produce a remarkable range of frequencies, from below 1Hz to around 10KHz. Osc1 produces sine and sawtooth waveforms with a form of rectifying waveshaping for the sine wave. Independent level controls allow you to select the amounts of each waveform in the oscillator's output. The second VCO also produces two simultaneous waveforms, and again it offers independent level controls for each. This time, the waveforms are pulse and triangle waves, with simultaneous waveshaping from 0% to 100% on the former, and from sawtooth to ramp wave on the latter. It's a shame that, on an unmodified VCS3, none of the waveshapers can be voltage controlled, because this would introduce many forms of PWM and dramatically increase the range of sounds available. But there it is... Once selected, a waveform is static. A third VCO is similar to VCO 2, with pulse and triangle waveforms, but its frequency range is concentrated further down the spectrum, lying between 0.025Hz and 500Hz.

An independant section on the panel contains a noise generator, with a level control and a 'colour' control that varies from predominantly low frequencies (red) through 'white' noise, and up to predominantly high frequency (blue) noise. Another section contains the Ring Modulator which, as you would expect, offers just an output level control.

Many players and writers have described the VCS3's filter as a conventional lowpass filter with an 18dB/octave slope, but they are - to some extent - wrong. For one thing, the VCS3 filter exhibits a 'knee' in its cutoff profile; the first octave above the cutoff frequency rolls off at 12dB/octave, but the slope increases to 18dB/octave at frequencies above that. Furthermore, any amount of filter resonance significantly depresses the low frequency gain, so EMS described it as a combined low-pass/band-pass device. At high Response (the EMS term for 'resonance') the filter self-oscillates. This was mind-boggling stuff in the late 60's.

If the filter is unusual, the envelope generator (which EMS called a 'shaper') and its associated VCA are positively arcane. It has six controls. The first is straightforward enough - it's the Attack, which has a range about 2ms to 1s. So far, so good. The next control is laballed "ON", but nowadays we would call this a ustain level "Hold" because it determines the length of time the envelope stays 'high' after you release the gate. Control number three is more recognizable - it's a Decay rate, with a claimed range of 3ms to around 15 seconds. The fourth knob is labelled "OFF" and it determines the delay before autoretriggering of the envelope cycle. Until you understand that this must be in the '10' position (called 'Manual') to play the VCS3 conventionally, things can get very confusing. Indeed, the envelope will auto-repeat at frequencies of up to 60Hz, which is well inside the audio range, so the 'Shaper' can also act as an LFO or even as a deep bass oscillator.

The envelope has two outputs with independent level controls. The first (and the fifrth in the 'shaper' section) is the one that confuses most people: it's the "Trapezoid" level. To understand this, just picture an envelope produced by an AHD (attack/hold/decay) contour generator. This is a shape called a trapezoid. So the Trapezoid Level simply determine the level of the envelope CV. The second level control (the sixth shaper control) is the signal level, and this controls the loudness of any signal passing through the Shaper. There is a lso a large, red ATTACK button, which we would nowadays describe as a manual Gate.

The VCS3 also provides a spring reverb with Mix and Level controls. This is a simple dual-spring device, with a maximum reverberation time of approx. 2 seconds. Unfortunately, when using the VCS3's internal speakers, the reverb howls uncontrollably before the mix gets very dense, and you can only use it to its full potential with external amplification and speakers.

It may not be obvious at first sight, but the VCS3 is a stereo synthesizer with independent output channels A and B that drive the left and right speakers respectively. These have independent level controls, panning controls, and output filter that, depending upon position, attenuate the bass or trable, or porivde a flat response.

Performance controls are limited to the enormous X/Y joystick. This has two controls that govern the X and Y ranges but, unfortunately, its maximum range is about +/-2V, so it's not often that you can plumb the extremes of any parameters it controls. There is also a
voltmeter that allows you to measure any control voltages (which are close to DC) or signal levels (which are AC) within your patches. You can even connect an oscilloscope to a dedicated 1/4" output on the rear.

THE DK1 KEYBOARD
---------------------
The separate DK1 keyboard - known as "The Cricklewood", because that was where Cockerell worked - was as radical as the VCS3 it controlled. Of course, it was monophonic (there were no poly synths in 1969) but it was velocity sensitive, allowing players to add expression in a
way that had hitherto been impossible.

You connect the DK1 to the VCS3 using a dedicated 8-way cable that provides two power rails, two CVs and a Gate pulse for the envelope shaper. To the left of the keyboard itself, two switches control the two output CVs (called 'Channels') produced by the DK1. The first of these has 'Signal' and 'CV1' positions. We'll come to signal in a moment...for now, simply understand that CV1 was what we would now call pitch CV. Hang on... doesn't CV1, and therefore channel 1, produce the same thing? Yes it does, so there's no point in having both switches set to 'CV'.

Now, let's return to that 'Signal' position. The DK1 has a built-in sawtooth oscillator and an associated VCA with frequency, 'spread, level and dynamic range controls. This is a godsend because, with the spread set to '10' the oscillator tracks the keyboard in a conventional 1:1 relationship. In other words, you can play the keyboard and, with everything else set up appropriately, you'll hear the notes that you would expect. This is not necessarily the case when you use the keyboard CV channels. This is because the keyboard CV channels enter the VCS3 through two input level controls marked, sensibly enough, Channel 1 and Channel 2. The problem arises because the 1:1 keytracking occurs somewhere between '6' and '7' on the knobs, and the exact position can fluctuate wildly with the oscillators' temperature, the time of day, and the FTSE100 index. This makes it very tricky to use the VCS3's internal oscillators for correctly pitched melodies. Every time you play the thing, and even after an hour of 'warming up'm you are constantly trimming the tuning and scaling the Channels.

Furthermore, the VCS3 doesn't confirm to either 1V/octave or Hz/V standards used by every other manufacturer, before and after. It uses internal voltages of 0.32V/octave for oscillators 1 and 2, 0.26V/octave for oscillator 3, and 0.20V/octave for the self-oscillating filter. However, because there are CV amplifiers on the internal module inputs, you need to double these figures to 0.64V/octave, 0.52V/octave and 0.40V/octave respectively for external CV sources. Argghhh!!!!

Likewise, the usual 10V peak-to-peak signal levels are eschewed in favour of 3V, 4V and 6V for the oscillators (depending on waveform), 5V for the filter, 3V for the noise generator... and so on. There was nothing about the VCS3 that we would now regard as conventional.

You might think that this is enough of the VCS3's and DK1's oddities, but you would be mistaken. This is because yet discussed its most notable characteristic: the patch matrix.

ENTER THE MATRIX
-----------------
The most important thing to note here is that the VCS3 will remain forever silent unless you stick some pins into the matrix. This is because none of the devices described are connected to eachother unless you use the matrix to determine which signal goes where. Fortunately, the 16x16 matrix allows you to connect any of the VCS3's modules to eachother. For example, let's say that you want to direct the output of oscillator 1 to output channel 1. Since the signal generated by oscillator 1 emerges from the list of sources in row 3, and the input to channel 1 is column A, you simple stick a patch pin in position A3, and the connection is made. Of course, this doesnæt preclude you from sticking more pins in row 3, and yet more in column A, so patches can become very complex, very quickly. Indeed, you can stick 256 pins into all 256 available sockets, but i doubt that it would create a sound. Also, you must remember that, at this point, you have only made a set of connections between modules. Whether you hear a sound, or whether it's a useable one, still depends on the positions on the front panel controls.

Unfortunately, there are three problems with the matrix. The first two are simple to avoid: if mistreated it can become unreliable; and it's very expensive to replace. The third is more fundamental...

The matrix is not "buffered", and this means that, every time you insert a pin into an existing patch, the actions of other patch connections will change to some degree. Let's suppose that you've spent an hour creating a complex patch and getting every knob exactly as you want it. You the decide that you want to add, say, oscillator 2 to the filter input. You insert the appropriate pin - and everything else changes. As you can imagine, this is infuriating.

Now let's turn to the patch pins themselves. These are not simple metal connectors that short between the row and column rails. They are resistors, and there are three types of these in common use. White ones (with a resistance of 2.7kOhm) are the most common, and you can use them for almost anything. However, because the resistors in the pins have a wide (5%) tolerance, they are not suitable for some jobs. In particular, two white pins inserted into I8 and J8 (CV Channel A connected to the pitch CV inputs of VCO1 and 2) will often be sufficiently different to make the oscillators track differently. To overcome this, EMS supplied red pins, also 2.7KOhm, but with 2% tolerance. The third of the common pin colours is green. These pins have a higher resistance than the others, thus reducing the amplitude of a signal considerably. Most often, you use these when you want to attenuate a control signal, such as applying a delicate amount of modulation to a pitch CV input.

If you read some of the conversations flying around the Internet, you might be forgiven for thinking that the VCS3 is no more than a glorified effects unit. In part, this is because few casual users have the patience or knowledge to squeeze conventional musical signals from the instrument. But perhaps more significantly, it's because the VCS3 has four 1/4" inputs on the rear panel - two for microphones, two for line level signals - routed to the Channel 1 and Channel 2 rows on the patch matrix. Because the VCS3 is modular, this is a far more powerful arrangement than the signal inputs on pre-patched monosynths, allowing you to use an external signal as an extra module, maybe as an audio source, a CV source, or even a Gate.

There's another reason why the VCS3 is often regarded as a sound mangler. Because its internal oscillators are so unstable, using external signals (such as generated by the DK1) is often the only way that you can play conventional melodies. So, in many ways, the VCS3's status as an "effects generator extraordinaire" is a classic case of making a virtue out of a necessity."

Scroll through these posts for more history on EMS and of course check out the EMS label below for more.

Heather and her Moog

flickr by TheDagLab

full size

"1/4 plate daguerreotype of 'Heat' and her Moog prodigy."

Keyboardless Mini Moog Case

synthwood
(click for more shots)

"# Cherry wood with Linseed Oil finish"

Amin Bhatia VIRTUALITY

VIRTUALITY Video: Part 1 The Moog Legacy

YouTube via interstellarcrew

"The first of many podcasts to come features the Bob Moog legacy and talks about how Amin Bhatia came to dedicate the album to him. Interviewed guests include Steve Porcaro, Patrick Moraz, Michelle Moog-Koussa as well as producers, engineers and musicians from 'Virtuality'

The podcast series was written and directed by Saul Pincus with contributions from cinematographers and journalists all over the world. Special thanks to the crew at Full Sail University, as well as the Bob Moog Foundation and the offices of Steve Porcaro, Patrick Moraz, Bhatia Music and Splice Heist.

Please visit aminbhatia.com for more on the album and artist."
Be sure to check out the Behind the Scenes section of the site.

VIRTUALITY Video: Part 2 The Making of Bolero Electronica

Uploaded on Dec 21, 2008

"The second of many podcasts to come features The Making of Bolero Electronica and talks about the inspiration for using 75 years of synthesizers; the origins of the instruments; and the challenge of putting it all together, including footage of rare keyboards used at the esteemed Cantos Foundation. Along with composer Amin Bhatia are Interviewed guests including Roland founder Ikutaro Kakehashi, Steve Porcaro, Patrick Moraz, Michelle Moog-Koussa as well as producers, engineers and musicians from 'Virtuality.'"

VIRTUALITY Video: Part 3 Inside the Computer

Uploaded on May 20, 2009

"The third installment of the Virtuality podcasts explores the possibility of making videos using the album as underscore. With the help of Music Academy Online and Second Life we are shown one interpretation of the virtual world - one where people can travel into the album. Interviewed guests include Patrick Moraz, Steve Porcaro, Ari Posner, Michelle Moog-Koussa, and (SL) Benton Wunderlich as well as producers, engineers and musicians from 'Virtuality.' The podcast series was directed and edited by Saul Pincus and Mark Dwyer with contributions from cinematographers and journalists all over the world. Special thanks to the crew at Full Sail University, as well as the Bob Moog Foundation and the offices of Steve Porcaro, Patrick Moraz, Bhatia Music, Splice Heist and Second Life. Please visit aminbhatia.com for more on the album and artist."

MFB synth lite 2


YouTube via alainjuteau. "Funny jam with analog synthesizer"

MFB-SYNTH II - ANALOG SOUND ---III° PART


YouTube via areyoudreaming

Customsynth.co.uk Flickr Sets


click here for the sets currently including:

MOTM portable cab set
White Roland SH1000
White Moog Rogue
White Roland JD-800
White Roland SH-101
White Octave CAT
Black Roland Juno-106
Chrome Sequential Circuits Six-Trak
White Korg Polysix
White Roland JX-3P + integrated PG-200 = JX-3PG
Black and Organge Roland SH-09

Metalbox and Roland System 100m

Metalbox modules integrated into a really nice Roland System 100m


via the visual section of
http://www.metalbox.com/

New Metalbox 4x4 Matrix Mixer

http://www.metalbox.com/

swordfish analog synth circuit bent


YouTube via evengravy
"swordfish circuit bent analog synth squarewave oscillator"

Electric Druid Synth DIY Updates

via Tim on the SDIY list:

"There's a new page to describe a Moog 911 ADSR envelope generator clone that J-P Desrochers has done using my PIC code as a base. He's copied the exact logarithmic pot response of the original and done a front panel graphic. It's nice work.

I've also done a page comparing some CEM3320 filter designs that I found whilst looking into alternative circuits for my Pro-One. This includes the LPF, HPF, and BPF from the datasheet, as well as both filters from the Oberheim OB-Xa, and the Elka Synthex multimode filter. And the Pro-One's original filter, of course."

Roots Revival soundcheck and Rasta Dub Sirens


YouTube via rootskontrolla. Star Wars Reggae
via this GetLoFi post on the somewhat fascinating use of "dub sirens" in reggae.
"Video of the system in action and an audio sample of the above device with just the noises. Whats interesting to note is that the Pitch is set via a rotary switch and not just a potentiometer. In a way that seems like it would be easier on the ears, no jumping around in frequencies. Another commercially available unit is from Theremin Planet for 130 Euros! I guess what I’m trying to say is that most of these Dub Sirens are simple dual 555 oscillators with a trigger button and Rasta colors."

Customsynth White Moog Rogue


flickr by CustomSynth.

One more shot of the customsynth.co.uk white Moog Rogue recently up for auction and posted here.

KORG Poly-800ii

flickr by lucidtone
(click for more)

Slayer mod?

MOTM Portable Cab


flickr by customsynth
(click for the set)

new album preveiw......


new album preveiw...... from edison on Vimeo.
"mlr through ableton through mini kp.........st-uh-uh-ing"

SNAMM08: Roland's GW-8


via Sonic State

Analogue Solutions Phobos Filtered Coffee & DSI Evolver


YouTube via dkimcg

"I just got the Analogue Solutions Phobos Filtered Coffee. It's an all analog filter based on the famous Korg MS-20's filters. The sequence is played by the DSI desktop Evolver with the the filters wide open and no resonance. All the filtering you hear is done by the Filtered Coffee with some slight coloration by the Urei LA-22 compressor. I start with the filter in the "unfiltered" settings, which still sounds pretty warm, some may like it some may not. I like the warmness it gives the sound, but I wouldn't use it on every track. I bet the MPC would sound great through it, now I wish I had a pair of these, which I guess you can sync up just by patching the LFO outs and ins in the back panel (there's over a dozen ins and outs, audio and CV in back).

Then I twiddle knobs starting with the lowpass. I tried to shoot it as clear as I could so anyone watching could see what I'm twisting. I twiddle some more, and then make push everything to sound a lot different than the source. As a bonus, I turn on the Roland RE-201 for more Space Echoey tape delay/spring reverb. There's no digital processing on this recording, what you hear is what I recorded.

I found out about this filter while looking for a good MS-20 filter clone. While I was begging the guys at Big City Music to sell me a frostwave resonator, which hopefully soon will be back in production, I came across this filter. I saw this and a Vermona filter. I wanted a MS-20 clone, and the Filtered coffee was based on it. So...I like coffee, I like MS-20's filters sound, I needed a filter a bit more easily tamed than the T-Resonator. Filtered Coffee it is...

The movie looses sync slowly, I think I have to figure out better settings, better luck next time. It's not too bad tho, it's off no more than a second or two at the end. I think it's a timecode issue I had when editing in the good audio into the video, but I'm too lazy to re-render now.

Enjoy."
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